Pink colorations and disco pop confections abound on Eva Eva Eva’s self titled 1978 LP, which is the newest reissue on Futuribile in collaboration with Peer-Southern Productions.

The LP possess a stunning sense of eclecticism and depth, with dazzling displays of diva dynamism proceeding over a range of textures and moods…shimmering disco, rustic blues, cinematic exotica, ripping rock’n’roll, and candy dipped funk and soul, with touches of cosmic synth occasionally accenting the mix. And sitting deep on the B-side is a wonderful Italian language version of “Stayin’ Alive.”


A1 - Love Me Please Forever
A2 - Vedrai
A3 - Do
A4 - Argentina
A5 - Fifties Rock
B1 - Dicono Che
B2 - Invasione
B3 - Vivo Sarai (Stayin' Alive)
B4 - Magari
B5 - Tennis Club More

For their next release, Futuribile looks to the work of Salerno star Carlo Fontana, presenting a set of hard-to-find & unreleased treasures titled ‘La Musica Del Sud.’

Carefully remastered at the West Hill Studio, the collection of tracks — which features contributing arrangements from Tullio De Piscopo — forms a moody pop funk paradise, with jazz horns and soul brass layered together, and amorous vocals crooning, supported by lush harmonizations and greasy gliding bass. Disco beats and exotic drums dance, prismatic pads and soft synths seek the stars, piano and guitar sing a spaced out blues, and amidst the moving grooves and deep swinging jams, moments of beautiful balladry emerge to touch the spirit.

Carlo Fontana's work is further testimony to a courtly and sophisticated musical aesthetic in vogue in Naples (and surrounding areas) between the 70s and 80s which had as its main proponents and protagonists exceptional musicians such as Joe Amoruso, Tony Esposito, Pino Daniele, Elio D'Anna, Enzo Cervo and many others.

A1 - Malatia
A2 - Lasciati Andare
A3 - Bella Signora
A4 - Amica Luna
A5 - Tu Chi Sij
B1 - La Musica Del Sud
B2 - Amanti
B3 - E Voglie A Te
B4 - Angelina
B5 - Tu Vuo Bene A Me More

Naples 1982, the earthquake leaves rubble and dismay, unease and misery, smuggling and heroin.
The reconstruction is a shadow that will last more than a decade, it is a shady deal between bureaucrats and
criminals.
Naples is an open construction site and the redemption was long coming. There was the "music-music" of the
Neapolitan Power, which conquers the national limelight, and a dark and marginal enigma called
"VESUWAVE" (especially for those who have not experienced it), that remains so, even after many years.
Naples is not a country for young bands that are not familiar with tradition and "bel canto" while the record
industry inhabits a platonic and incorruptible world beyond the vault of heaven. At that time five Lucanians and
three Neapolitans founded Little Italy, probably a tribute to the homonymous district of New York and inspired
by Talking Heads, Contorsions, Polyrock, B-52's, Konk and Liquid Liquid. They have the freedom to
experiment and smash the stages of the Italian peninsula festivals more attentive to the new waves as well as
participate in some television broadcasts. They basically don’t unnoticed but in spite of the apprenticeship and
the kilometers covered in three years of activity (from 1983 to 1985) all they had the chance to record were a
couple of songs.
Fragments is a compilation made with archived materials that Futuribile Records releases on vinyl after
having discovered and restored old unreleased tapes from back in the day and made available by the band
members themselves. Seven tracks that highlight a collective in continuous transformation and outline
their drivers and abilities.
Little Italy have a horn section that gives them that chromatic vivacity, a typically mutant funk guitar groove,
two fatal and dazed female voices who speak many languages (English, French, Italian) reciting collages of
cryptic texts evoking modernity through no-sense and cultured quotations; a funk thrill in the basslines and
drums solutions that give a nod to the sly disco beat of a specific easy listening, elegant and refined Italo
sound. A super-sophisticated sound with the right dose of fusion, proper New Wave, which in the more New-
Yorker passages recalls the volcanic and sweaty sound of the contemporary and fellow citizens Bisca,
another out-of-the-box band member. The warm Mediterranean wind blowing on some tracks certifies their
origin and the exoticism leads Little Italy to drink from that oasis of escape.
After all, the escape from a world that does not contemplate banality is the synthesis of the 1980s thought.
(Words by Fabio Astore)

TRACKLIST:

A1. Nassau
A2. Bright Up
A3. Watch Your Step
A4. Fast Food
B1. Fragments
B2. Charlie Parker
B3. Mouse Trap Town More

FIRST OFFICIAL REISSUE OF ONE OF THE MOST SAMPLED TURKISH RECORDS IN 45 YEARS! SAMPLED BY RAP LEGENDS LIKE SCARFACE OF THE GETO BOYS. TURKISH PSYCHEDELIC MASTERPIECE FROM 1980

Licensed from "Warner Records Sweden" and remastered from original material in Warner Record's vaults by Shawn Joseph at Optimum Mastering Bristol. 180 gr heavyweight vinyl Manufactured in Optimal Berlin.
Recorded between Istanbul and Stockholm, it captures the era between Okay Temiz's Don Cherry Trio touring and his own band Oriental Wind's sensational debut.
Mentioned distinctive elements have elevated the record to 'cult' status among record collectors, sample enthusiasts, and diggers around the world.
By 1980, Okay Temiz had already embarked on a series of dynamic collaborations and sound experiences with Don Cherry as a member of the Don Cherry Trio. This period included a noteworthy summer in the early '70s at Dartmouth College in New Hampshire, hosted by Jon Appleton, a notable American composer and visionary in electro-acoustic music.
"During that summer, Jon asked me, 'What kind of sound do you have in mind?' I had already given this considerable thought, using a tape recorder to capture sound frequencies influenced by the moon's position. Jon Appleton's question made me think about the extension of 'Organic Music Theory,' which we were exploring with Don Cherry at the time."
In 1982, Okay Temiz recorded the most comprehensive answer to 'What is Turkish Jazz?' at the Montreux Jazz Festival (CAZLP 004) with his band Oriental Wind, featuring Bobo Stenson (of the Jan Garbarek - Bobo Stenson Quartet), Palle Danielsson (of the Peter Erskine European Trio), and Lennart Åberg (of the Scandinavia New Jazz Group).
In 1980, without fully realizing he was navigating between these two worlds, Okay Temiz entered Stockholm's renowned Metronome studios to record the 'sound in his mind' as a solo artist.

`Drummer of Two Worlds` is a star map of Okay Temiz's musical worlds. Blending elements from the grand piano to his handmade drums, and from the amplified Berimbau to his cowbell array, weaving Turkish rhythms like 9/8 and 7/8 with the universality of 4/4, it presents a unique sound narrative that resonates with the dimensions of a well-traveled mind."

Haluk Damar

A1 - Eastern Breeze
A2 - Penguin
A3 - Galaxy Nine
A4 - Savsat Bari
A5 - Repercussions
B1 - Drummer Of The Two Worlds
B2 - Sipsi
B3 - Ocean Rolelr
B4 - Fantasia Drive More

Tracklisting
A1 Tim Reaper - Energy Movements
A2 Tim Reaper - The Juggernaut
B1 Tim Reaper - World Of Shadows
B2 Tim Reaper - Fusebox More

Very first version of the first single by Cortex, reissued as 7inch for the 1st time. “I remember that I and Alain Gandolfi wanted to put ‘Mary & Jeff’ on the A side, but the producer decided to set ‘L’Enfant Samba’ instead because he thought that the voice of Mireille would be more selling than my piano… 6 months after, at the beginning of 1976, ‘Mary & Jeff’ was a hit in a lot of Disco clubs and radios!” (Alain Mion).

Limited to 500 copies.

La Rue 4:23
Automne (Colchiques) 2:35
L'Enfant Samba 3:00
Troupeau Bleu 5:00
Prelude A "Go Round" 3:52
Go Round 1:20
Chanson D'Un Jour D'Hiver 5:20
Mary Et Jeff 2:40
Huit Octobre 1971 4:22
Sabbat (1ère Partie) 1:00
Sabbat (2ème Partie) 3:15
Sabbat (3ème Partie) 0:26
Madbass 2:50 More

Tracklisting
A1 Aero - Straight From The Shoulder
A2 Aero - Come Again
B1 Aero - Lurching
B2 Aero - Crutch More

DJ Support From Carl Cox, Dj Sneak, Todd Terry, Phil Weeks

Australia’s Mo’funk & Encee kick off their new label Only Cuts with a 4 track EP of swinging house grooves & bumpy garage 4x4 beats using familiar samples to ignite the dancefloor.

With close ties to Ibiza having played for Glitterbox, Pacha, Hi and Cafe Mambo, and previous productions on labels like Freeze, Robsoul, & Peppermint Jam he's certainly one to watch! More

Pearson Sound returns to his Hessle Audio label with Which Way Is Up, a 4 track EP showcasing a range of textures and tempos with soundsystem pressure as the anchor. The 808-laced 'Hornet' kicks things off with a sound palette inspired as much by '80s Miami as '10s London. 'Twister' dials up the energy with a jagged lead and scattered breakbeats pulling in opposing directions, while the steppers pulse of 'Slingshot' evokes formative experiences at Subdub in Leeds. The EP is brought to a close with the blissed out title track 'Which Way Is Up', whose arpeggios dance around each other until they fizzle to breaking point. Support from Mala, Mary Anne Hobbs, Joy Orbison and more. More

Mighty Vertebrate is the International Anthem debut from Anna Butterss. The Adelaide born bassist / composer has been a first call for LA tour and studio work since relocating there in 2014 – racking up credits with notables across the experimental, jazz, and pop worlds alike – but their most notable contributions to the burgeoning LA scene have been as a member of both Jeff Parker’s ETA IVtet and rising proto-trance supergroup SML, who Pitchfork says “represents the thrilling next phase of a vibrant L.A. community.”

“I had just gotten off of a bunch of touring at the end of 2022 and just wanted to write music,” says Butterss. “The best way for me to do that, I’ve found, is to set myself a discreet and focused task."

I’m going to make a song where the bass doesn’t function in the role of a bass.
I’m going to work on this for an hour and then I’m going to stop.
I’m going to make a song that uses groups of three-bar phrasing.
I want to sample something and make it into a song.
I’m going to start with a drum machine.

The music itself reflects that structure beautifully, with the material being tightly
composed and melodically realized by Butterss well in advance of production concerns. Here they reconvene a group of trusted longtime collaborators to bring their compositions to fruition: Ben Lumsdaine (drums, guitar, production), Josh Johnson (sax), and Gregory Uhlmann (guitar), plus a smoking guest appearance from Jeff Parker. The breadth and scope of the results might have been difficult to achieve otherwise. From the Robbie-Shakespeare-in-groove-mode intro to the album opener “Bishop” to the spacious cinematic doom of “Seeing You”, there is a lot to wrangle into one cohesive concept. On Mighty Vertebrate, Butterss and crew do just that. More

Ukrainian producer Yan Cook hits hard with a third follow up EP on Delsin's Inertia series. Once again a lethal pack of four to the floor techno weapons. More