Longtime label friend and supplier of numerous edits, "Voodoocuts", teams up with "Matasuna Records" again for a new officially licensed 45. This time he puts his hands on two disco gems by the South African band "The Movers", one of the most important South African bands that shaped the country's music scene from the late 1960s to the early 1980s. The songs "Soweto Disco" and "Shanana" from the late seventies get the Voodoocuts treatment with his typical precision and attention to musical detail. The fusion of South African music with international influences such as jazz, funk and disco is an explosive mix and a secret weapon for every record bag.

Voodoocuts kicks off the single with his stunning edit of "Soweto Disco". The original is already extremely infectious and energetic, with a grooving bass, opulent horn sections, wild organ parts and a relaxed reggae vibe. But Voodoocut manages to give the song an extra kick with his skillful rearrangement, drumming and the addition of loops, filters, effects and samples. The edit effortlessly takes the song into the present to deliver a killer cut for the dancefloor.

On the flip side, "Shanana" is another delicacy from the band's later creative period. Although the mood is more relaxed, it's a wonderful song with its distinctive bass and guitar lines, as well as the great organs that are always present. Voodoocuts Edit builds up the song slowly to give the instruments enough space to unfold. A wonderful jazz-funk tune with a disco touch, enhanced by the Voodoocuts treatment.

Artist info:

The story begins in the turbulent townships of South Africa in the 1960s, when unknown musicians and brothers "Norman" and "Opa Hlongwane" approached "Kenneth Siphayi", a wealthy businessman, with the idea of supplying them with musical instruments in exchange for a share of live performances and record sales. Siphayi agreed and even became their manager, providing them with a rehearsal space and an organist. This was the beginning of the band "The Movers", whose name was also given by Siphayi.

The Movers developed a unique sound that combined traditional South African rhythms and melodies with influences from American soul, jazz and funk. Their sound was both danceable and emotionally profound. Inspired by the challenges and hopes of everyday life in the townships, their music took listeners' hearts by storm. Their energetic performances and catchy melodies quickly made them one of the most popular bands in the country. This was reflected in the sales of their first album, "Crying Guitar", which sold over half a million copies in the first few months after its release.

But their music was more than entertainment; it was an expression of the hope and resistance of an entire generation. Despite their immense popularity, The Movers, like many other black artists in apartheid South Africa, faced many challenges: Segregation, censorship, and limited opportunities to bring their music to a wider audience. However, they overcame these challenges. Their song "Soweto Inn" even became the soundtrack for the student revolts of the mid-1970s.

However, the band also experienced repeated upheavals due to a change of band members and the dismissal of their manager in 1976. The gap was filled by the producer, who took a more active role in the band's musical direction. By the end of the 1970s, none of the original members were still active and the musical landscape in South Africa began to change. The emergence of new musical styles and political pressure from the apartheid government presented challenges to the band. Despite these adversities, The Movers remained active, recording new music and proving their adaptability and creativity.

Even after their active time, the legacy of The Movers has remained alive. Their music is still listened to and appreciated today, and they are considered trailblazers for many musicians in South Africa. More than just a band, The Movers were a voice of hope and cultural expression in a difficult time. Their music remains an enduring symbol of the strength and spirit of South Africa.

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Exactly three years ago, "Matasuna Records" released a hot Latin 45 feat. two songs by the Venezuelan band "Phirpo y sus Caribes", led by musician, arranger and conductor "Porfi Jiménez". Now, fortunately, two more tracks from the band's only album, "Parrilla Caliente", are being reissued on vinyl by Matasuna - and for the first time, on a 7-inch! The original pressing of the 1972 album on "Philips" is a rare and valuable collector's item. Officially licensed by the family of the late musician. Don't miss this gem! "Y Esa Pava Que?" on the A-side of the single is an explosive Latin funk joint written by Porfi Jiménez. An irresistible groover, opulently and densely orchestrated with virtuoso musicians showing off their musicality. Heavy drums, powerful horns, funky & slightly psychedelic keys & guitars are the basic ingredients, enriched with solo parts and vocal interludes. A real treat! The B-side features "Pa' Los Rumbero", a cover version of the song by New York Latin maestro "Tito Puente". In 1972, Puente recorded a great new version of his original 1955 composition. Phirpo y sus Caribes used this new version as the basis for their cover, compressing the Puente song to about two and a half minutes. The result is an energetic and upbeat song that proves that Porfi Jiménez and his bandmates were among the continent's finest musicians. Vamos que la rumba ya va empezar!

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"Matasuna Records", on a mission to unearth musical treasures of the past for the last 7 years, presents an exciting discovery of the present with the band "Bidaide" from Barcelona. This 7-inch vinyl single not only marks Bidaide's vinyl debut, but also unveils their captivating versatility and musicality with two previously unreleased tracks, "Batua" and "Love Me & Give Up".

Soul, funk, psychedelic rock, reggae-dub and library music merge seamlessly in Bidaide's recordings, forming a unique sound. Two great tracks that are now available on vinyl!

"Batua" on the A-side is the energetic prelude to this 45. A dynamic, unfiltered rhythm section provides the foundation, while two guitars engage in an agile conversation underscored by sharp keys and fantastic brass overdubs. Recorded in the band's studio on multiple tracks using analog methods and equipment, the song boasts an opulent, organic sound. Batua is a funky, psychedelic journey interspersed with soulful & harmonious interludes and stirring percussive breaks.

Flipping to the B-side, "Love Me & Give Up" offers a more soulful, relaxed contrast, showcasing the band's versatility. A laid-back beat sets the stage, with keys and guitars weaving a soulful sound tapestry.The chorus, delivered with restrained conviction and backed by a warm organ, evoke a Motown-esque charm.

Founded in 2019, Bidaide began as a duo with "Asier del Álamo" and "Juan Cruz Chiappara". With the arrival of "Sergio Caño" (keyboards), "Manuel Diaz" (drums), and "Nacho Llauradó" (Telecaster), the duo blossomed into a vibrant band. Through experimentation and maturation, they forged their own distinct sound, reflected in their 2021-2022 recordings titled "BATUA" (Basque for "unity"). These recordings embody the spiritual essence of a group that has found and solidified its own powerful sound, showcasing its talent for arrangements and harmonies.

Some members of Bidaide, who already knew Matasuna and their releases through their involvement in the "Gatzara Soundsystem", sent Matasuna their demo of the recordings in mid-2003. Their fresh, impressive sound immediatelyfound open ears. This connection paved the way for Bidaide's exciting vinyl debut, marking a new chapter in their musical journey.

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Matasuna Records is thrilled tofinally release them as an officially licensed reissue with new mastering as a 7-inch vinyl single. This release is an absolute must-have for all funk enthusiasts, DJs and collectors."Getting Uptown (To Get Down)" by "United 8" is a funk classic released on Atlantic Records in 1972. The musicians of United 8 created an infectious sound with a combination of horns, guitars, drums and bass. The drums drive the beat and give the track its distinctive rhythm, while the bass provides a powerful, pulsating foundation. The horns add a jazzy note, while the guitar adds a funky touch. The result is an energetic, danceable sound that still sounds fresh and exciting today. The song is timeless and has lost none of its appeal.It's no wonder that it has been featured on many funk compilations since the 2000s. "Sexy Coffee Pot" by "Tony Alvon & The Belairs" is an explosive and energetic funk jointfrom 1969that immediately captivates the listener. The rhythm section lays down a steady, infectious groove, while the guitar and horns provide a funky, dynamic sound that complements each other perfectly. It's no surprise that "Sexy CoffeePot" has been sampled and covered by so many hip-hop artists over the years, such as "Eric B. & Rakim", "Cypress Hill" or "DJ Shadow", to name a few. B-boys and B-girls also appreciate the upbeat vibe of this song, which has become a staple on battles.

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"Matasuna Records" returns to Mexico for a third time to dig for rare treasures. They got their hands on a special gem - two obscure Latin/Jazzfunk tunes by a band called "Colorado" from "Mexico City". The songs were released in 1976 on the Mexican label Peerless and the super rare original 7inch is virtually unavailable. Fortunately, the release is finally available for the first time as an official reissue in a remastered edition. An unjustly under-the-radar Latin jazzfunk highlight!

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"Matasuna Records" journey goes to "South Africa" for the first time to reissue two superb Afro-/Jazzfunk songs by the band "Freeway". Released in 1975 on the South African label "Flame", the album "Abahambi – Balomhlaba" was rediscovered and re-released by the good folks of "Black Pearl Records" from Berlin in 2013. The LP immediately landed on Matasuna Records' album best list and was at the top of the reissue wish list. Now that goal has come true to officially release two songs on 45, making them available as 7inch vinyl singles for the first time. Transferred from the original master tapes and remastered to sound as good as never before. An essential release! The title track of the album "Abahambi" composed by "Sipho Gumede" and also the album opener is also the A-side of the Matasuna release. The song immediately builds up an incredible groove with the first bar and offers an atmospherically dense, 5-minute funk firework. The musicians master their instruments to perfection: be it in the collective playing as well as in the polished solo passages, where they can fully demonstrate their skills. One of the tunes that could run endlessly without ever getting boring. On the flip side, the song "Umlazi" composed by "Enoch Mthalane" is another testament to the sophistication of their arrangements & musicality. Although this song is much slower in tempo, it is in no way inferior to the A-side in intensity. Especially the piano generates a hypnotic groove, which is skillfully continued by the guitar. Another musical treat!


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"Matasuna Records" has dug into the archives of "Atlantic Records" and unearthed two funky treats from the band "Black Heat". The funk & soul band was active in the 1970s and remained under the radar despite their talent. Both songs from their 1972 debut album are available for the first time as an official reissue on 7inch - the song "Wanaoh" even premieres on a vinyl single. "Wanaoh" on the A-side is a monster funk joint written by the band's guitarist "Bradley Ownes". The song features a top notch mix with all kinds of delicious ingredients: a killer bassline, funky guitar riffs, crunchy drums, deep organ, tasty horns and a super funky flute. Absolutely astonishing that this song didn't go down in the annals of funk. "Chip's Funk" on the B-side penned by bassist "Naamon Jones" also continues in the same vein and is an absolutely great tune which succinctly showcases "Raymond Green's" harmonica. The band's name couldn't apply better to this song either: Black Heat is exactly what the musicians deliver here.

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“It’s just too easy to make a standard dance track,” Aphex Twin said of his mindset back in 1992. “You’ve got to put a bit of thought into it to get something a bit different.” ‘Didgeridoo’ was released on the Belgian R&S Records label in 1992, and originally peaked at #55 in the UK singles chart in May of that year. Over the last 32 years the track has become one of the essential Aphex Twin tracks in a gargantuan catalogue that continues to amaze and inspire. “I wanted to have some tracks to play to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn’t dance,” Richard D James, AKA Aphex, told Select magazine back in the 90s. “Digeridoo came out of that.” Released as a 4 track EP that also included early Aphex productions (now classics) including the industrial, acidic clang of ‘Flap Head’ and hyperbolic futurism of ‘Isopropanol’, the release cemented a relationship with the R&S label that went on to release the ‘Xylem Tube’ EP and the pivotal album ‘Selected Ambient Works 85-92’ in the same year. The label’s owner & A&R Renaat Vandepapeliere reflected “When I first heard Aphex Twin’s music I said, ‘This is it!’, and everybody else said, ‘You’re crazy!’ …a lot of the hardcore R&S fans dropped us. To them it wasn’t music.” ‘Didgeridoo’ (Expanded Edition) is the first time the EP has been re-issued with extra material. Whilst digging in his DAT archive (allegedly stored in an airtight military ammo box), Richard James revisited the recordings, encoding them through a Nakamichi CR7e cassette deck, using the customised deck with vari-speed to encode at speeds “felt right at the time”. Alongside these CR7e versions, the original mixes have been remastered by Beau Thomas at Ten Eight Seven Mastering, offering a dilated insight into one of electronic music’s most endearing releases.

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The Classic Greg Foat Group line-up returns with special guests Art Themen on Soprano Saxophone and Morgan Simpson (Black Midi) on Drums. Heavy Synth and percussive Grooves

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Repress soon!

As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German, Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

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A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

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Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of the Wamono style, Yoshizawa published the Wamono A to Z records guide book in 2015 which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. After many years working as a record buyer for several stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo's Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the Wamono A to Z records guide book together with Yoshizawa. For this third chapter of the acclaimed Wamono series, Yoshizawa and Chintam unheart some of the best and rarest light mellow funk tunes and disco boogie bangers produced in Japan between 1978 and 1988. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

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LA via Paris classically trained keyboard wizard DAVID ZYLBERMAN AKA GHOST from EGYPTIAN LOVER's spaced out synthfunk backing band follows up his sold out/out of print STAR CREATURE debut with another set of Contemporary Electronic Jazz Funk primed for peak hour dance floor action. After flipping bananas covers of LONNIE LISTON SMITH and ROY AYERS, he drops an original production that gives that same synth driven, rhythm forward dance vibe. The B Side takes us straight to deep space with an uptempo cracker of a remix of BRIAN BENNETT's ‘SOLSTICE” done in a zero-gravity flavor previously considered impossible. The promo copies have already seen major support from Chicago and NYC heavyweights.

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Blue Vinyl Repress!

Back by popular demand "Take A Chance" by Mr. Flagio, one of the most classic Italo-Disco anthems, now including original versions and Italoconnection reworks.

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