1
Az - Night Dub
2
Az - New York To Rio
Az aka Lodger is back on Stamp with this great double-header of edits - it's a soul/funk classic on the A side with an excellent new interpretation of an early UK house hit on the flip.
VERY Limited copies. More
VERY Limited copies. More
More records from Stamp
1
J1mi (Beyonders) - When The Lights Went Out
2
J1mi (Beyonders) - Cryin' For Love
3
J1mi (Beyonders) - Jenny
Stamp is back with a special three tracker of disco edits from J1mi Beyonders!
A trio of unashamed hands-in-the-air pumpers to induce dancefloor euphoria... More
A trio of unashamed hands-in-the-air pumpers to induce dancefloor euphoria... More
Casino Times debut on Stamp Records with four carefully diced grooves.
With acid-tinged disco and house-infused jazz on the A side, and not one but two tributes to Austropop on the B, the duo show-off both their eclectic tastes and loose approach to crafting an edit.
Much like the style established by the Casino Edits series,'Enough Acid' is a disco excursion that rolls with lively organic percussion, funked up guitar, singing strings and a meaty analogue acid bass line.
Perfectly timed piano breaks pays homage to the monstrous source material, creating an abundance of dancefloor drama...
'The Glow (Estate)' achieves the seemingly unfeasible; an enchanting jazz sample is seamlessly arranged across a tight drum groove creating rich, soulful rhythms. At points the track seems to take flight to create space for a tender vocal hook, fascinating for both diggers and dancers alike.
Flipping to the other side, Casino Times go all in with a tribute to Austropop, with two stripped back new wave and punk inspired cuts. 'Gaze Into The Future' shakes bodies and pushes the bass bins to the limit, with the sound of a siren letting us know it's time to report to the dancefloor.
Its counterpart 'Overly Dramatic' lives up to its name - a jaunty slap bass groove bounces away underneath roaring synthetic atmospheres, sporadically launching into bellowing choral hits that'll make your head spin. More
With acid-tinged disco and house-infused jazz on the A side, and not one but two tributes to Austropop on the B, the duo show-off both their eclectic tastes and loose approach to crafting an edit.
Much like the style established by the Casino Edits series,'Enough Acid' is a disco excursion that rolls with lively organic percussion, funked up guitar, singing strings and a meaty analogue acid bass line.
Perfectly timed piano breaks pays homage to the monstrous source material, creating an abundance of dancefloor drama...
'The Glow (Estate)' achieves the seemingly unfeasible; an enchanting jazz sample is seamlessly arranged across a tight drum groove creating rich, soulful rhythms. At points the track seems to take flight to create space for a tender vocal hook, fascinating for both diggers and dancers alike.
Flipping to the other side, Casino Times go all in with a tribute to Austropop, with two stripped back new wave and punk inspired cuts. 'Gaze Into The Future' shakes bodies and pushes the bass bins to the limit, with the sound of a siren letting us know it's time to report to the dancefloor.
Its counterpart 'Overly Dramatic' lives up to its name - a jaunty slap bass groove bounces away underneath roaring synthetic atmospheres, sporadically launching into bellowing choral hits that'll make your head spin. More
1
Aroop Roy - No Title
2
Aroop Roy - No Title
Stamp welcomes edit maestro Aroop Roy to the fold for its 10th label release! The A-side extends and tweaks a legendary flautist's catchiest hit while the flip tips one of America's most prolific musician's late 70's hits on its head. Long requested, now finally on wax!
More
More
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Hiroshi Kamayatsu - Have you smoked Gauloise
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Happy End - Haruyo Koi (Come, spring)
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Yoshiko Sai - Aoi Galasu Dama (Blue Glass Ball)
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Tadashi Goino Group - Jikan Wo Koero (Go Beyond Time)
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Jun Fukamachi - Omae (You)
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Momotaro Pink with Original PINKS - Hachigatsu No Inshow (August’s impression)
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Vol.1 Chap.100 - Heya No Naka (In The Room)
The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.
At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.
Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.
Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.
Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.
If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.
Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces. More
At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.
Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.
Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.
Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.
If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.
Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces. More
1
The Godfathers - Ebe Ye Yie Ni
2
Pat Thomas - Gye Wani
3
Pepper, Onion, Ginger & Salt - M.C. Mambo
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Andy Vans - Adjoa Amisa
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George Darko - Kaakyire Nua
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Rex Gyamfi - Obiara Bewu
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Starlite - Anoma Koro
8
Abdul Raheem - Alaiye
9
Jon K - Asafo
10
Kwasi Afari Minta - Barima Nsu
11
Marijata (feat. Ata Kak) - Otanhunu
12
Gyedu Blay Ambolley - Apple
13
Dadadi - Jigi Jigi
14
Charles Amoah - Fre Me (Call Me)
15
Ernest Honny - New Dance
16
Bessa Simons - Sii Nana
17
Nan Mayen - Mumude
18
Nana Budjei - Asobrachie
In the early 1980s, a particular alchemy between new musical technologies and significant social, cultural, and political transformations in Ghana gave rise to a new style of highlife. Drum machines and synthesisers appeared alongside lilting guitar lines and punchy horns, and the emerging Ghanaian diaspora began incorporating US disco and boogie, R&B, European new wave, and Caribbean zouk and soca into their music.
This style soundtracked the birth of a new, proud Ghanaian identity and captured the idiosyncrasies of a rapidly changing postcolonial society, marked by increased migration and wider access to global sounds and modern technology.
More than 20 years after the release of the heavy funk and Afrobeat-focused Ghana Soundz compilations, and following the success of 2009’s Ghana Special: Modern Highlife, Afro Sounds & Ghanaian Blues 1968-1981, Soundway is now shining the spotlight on the multifaceted, diasporic sounds of the ‘80s on new compilation Ghana Special - Volume 2, a collection of 18 burger highlife, electronic afrobeat, and reggae tracks.
Though Ghanaian to its very core, burger highlife emerged mostly outside of Ghana and just as the sun was setting on the country’s musical golden age. In the 1960s and 1970s cities such as Accra, Tema, Takoradi, and Cape Coast were home to thriving music scenes, and the loud horn sections of the big highlife bands, or the simpler, socially conscious palm wine music ruled the dance halls, locals drinkeries, and airwaves.
Back then music represented a powerful force, and an artist’s endorsement or dissent could make or break a politician. Perhaps to curb this power, the incoming military regime-imposed curfews and substantial import taxes on musical instruments in the early 1980s. These measures, coupled with a profound economic downturn and shifting musical preferences that saw DJs replacing large live bands, served as the final blow to Ghana's once-thriving music scene.
Musicians left Ghana in droves, scattering across West Africa, Europe, and North America. Thanks in part to its more permissive migration policies Germany became the heart of this scene, and the movement in fact takes its name from “Bürger”, the German for “citizen”. Less confined by genres than back in Ghana, artists in the diaspora were quick to engage with the different styles, working disco, boogie, and funk into their highlife melodies. Access to state-of-the-art studios and modern musical technologies also gave birth to all sorts of mutations: burger highlife in fact is less defined by one particular sound, than by the experimental approach and global outlook of its artists.
Tracks such as Ernest Honny’s experimental cut “New Dance” are an example of just how far artists strayed from original highlife arrangements. Honny, who started his career as a keyboard player with Dr K Gyasi’s band The Noble Kings, had moved to Benin in the 1980s, where he experimented with synthesisers and drum machines at one of Cotonou’s top studios. Similarly, Nan Mayen’s “Mumude” is a slick, 80’s pop track which was recorded in Germany, with only a slight echo of highlife in its opening Fanti lyrics.
This generation of artists found inspiration in sounds that transcended geographical boundaries: singer and guitarist Nana Budjei, who was originally from central Ghana but had moved to the UK in the 1980s, says that his radiant, sun-drenched 1988 track “Asobrachie” is “influenced by reggae maestros Bob Marley and Alpha Blondy, and traditional Akan folklore music”; on “Jigi Jigi”, the Kumasi-born, Sweden transplant Delips Apo draws on soca, latin, and zouk influences.
Throughout the 1980s Ghanaian artists kept producing increasingly innovative and experimental hybrids, winning over new audiences abroad. Though back in Ghana the new sound was initially met with disapproval by purists, it slowly became a symbol of a new, worldly and modern Ghanaian identity. The creativity and open mindedness that characterised burger highlife have gone on to shape the evolution of Ghanaian music since, giving artists the freedom to explore new global sounds while preserving a proudly Ghanaian soul. Ghana Special - Volume 2 stands as a vibrant tribute to the lasting legacy of this groundbreaking musical era. More
This style soundtracked the birth of a new, proud Ghanaian identity and captured the idiosyncrasies of a rapidly changing postcolonial society, marked by increased migration and wider access to global sounds and modern technology.
More than 20 years after the release of the heavy funk and Afrobeat-focused Ghana Soundz compilations, and following the success of 2009’s Ghana Special: Modern Highlife, Afro Sounds & Ghanaian Blues 1968-1981, Soundway is now shining the spotlight on the multifaceted, diasporic sounds of the ‘80s on new compilation Ghana Special - Volume 2, a collection of 18 burger highlife, electronic afrobeat, and reggae tracks.
Though Ghanaian to its very core, burger highlife emerged mostly outside of Ghana and just as the sun was setting on the country’s musical golden age. In the 1960s and 1970s cities such as Accra, Tema, Takoradi, and Cape Coast were home to thriving music scenes, and the loud horn sections of the big highlife bands, or the simpler, socially conscious palm wine music ruled the dance halls, locals drinkeries, and airwaves.
Back then music represented a powerful force, and an artist’s endorsement or dissent could make or break a politician. Perhaps to curb this power, the incoming military regime-imposed curfews and substantial import taxes on musical instruments in the early 1980s. These measures, coupled with a profound economic downturn and shifting musical preferences that saw DJs replacing large live bands, served as the final blow to Ghana's once-thriving music scene.
Musicians left Ghana in droves, scattering across West Africa, Europe, and North America. Thanks in part to its more permissive migration policies Germany became the heart of this scene, and the movement in fact takes its name from “Bürger”, the German for “citizen”. Less confined by genres than back in Ghana, artists in the diaspora were quick to engage with the different styles, working disco, boogie, and funk into their highlife melodies. Access to state-of-the-art studios and modern musical technologies also gave birth to all sorts of mutations: burger highlife in fact is less defined by one particular sound, than by the experimental approach and global outlook of its artists.
Tracks such as Ernest Honny’s experimental cut “New Dance” are an example of just how far artists strayed from original highlife arrangements. Honny, who started his career as a keyboard player with Dr K Gyasi’s band The Noble Kings, had moved to Benin in the 1980s, where he experimented with synthesisers and drum machines at one of Cotonou’s top studios. Similarly, Nan Mayen’s “Mumude” is a slick, 80’s pop track which was recorded in Germany, with only a slight echo of highlife in its opening Fanti lyrics.
This generation of artists found inspiration in sounds that transcended geographical boundaries: singer and guitarist Nana Budjei, who was originally from central Ghana but had moved to the UK in the 1980s, says that his radiant, sun-drenched 1988 track “Asobrachie” is “influenced by reggae maestros Bob Marley and Alpha Blondy, and traditional Akan folklore music”; on “Jigi Jigi”, the Kumasi-born, Sweden transplant Delips Apo draws on soca, latin, and zouk influences.
Throughout the 1980s Ghanaian artists kept producing increasingly innovative and experimental hybrids, winning over new audiences abroad. Though back in Ghana the new sound was initially met with disapproval by purists, it slowly became a symbol of a new, worldly and modern Ghanaian identity. The creativity and open mindedness that characterised burger highlife have gone on to shape the evolution of Ghanaian music since, giving artists the freedom to explore new global sounds while preserving a proudly Ghanaian soul. Ghana Special - Volume 2 stands as a vibrant tribute to the lasting legacy of this groundbreaking musical era. More
1
Hiroki Tamaki - River
2
Happy End - Kaze Wo Atsumete
3
Takashi Nishioka - Manin no ki
4
Ken Narita - Gingatetsudo No Noru
5
Hiroki Tamaki - Beautiful Song
6
Niningashi - Hitoribotch
7
Tokedashita Garasubako - Anmari Fukasugite
8
Akaitori - Hotaru
A counterculture movement united by an expansive, experimental and deeply soulful sensibility, Japan’s rebel protest music challenged the status quo and changed the country’s music industry in the process.
The birth of Japan’s nascent acid folk scene was rooted in the messy and invigorating political climate of the late 1960s. It is a story of Dadaists, communists, pharmacists and cult leaders, led by a young generation of upstart students, artists and dreamers hellbent on turning their world upside down.
Born on the campuses of Tokyo, Kyoto and Osaka, and centred around newly formed independent label and left-wing stronghold URC, this uniquely Japanese form of folk expression provided an outlet for musicians who were tired of aping Western sounds and instead found ways to sing in Japanese and integrate traditional forms in new ways.
At the forefront of this movement was Yellow Magic Orchestra’s Haroumi Hosono, a polymath innovator whose band Happy End released the first Japanese language rock album, and whose influence would go on to be felt across Japanese music for decades. Alongside, and informed by the Kansai scene’s Takashi Nishioka and Happy End collaborator Ken Narita, they experimented with cadences and accents of the Japanese language to open the door for others to experiment with their own forms of psychedelic folk too.
Some, like Nishioka, were more inspired by Dadaism than drugs, while others, like Kazuhisa Okubo, would ultimately find work as a chemist, having founded two further folk groups that flirted with varying levels of success. Obstinately uncommercial, relentlessly creative, the music featured on Time Capsule’s Nippon Acid Folk represents a broad church of influences.
Perhaps the wildest addition to this congregation however was Hiroki Tamaki, a classically-trained violinist and committed iconoclast, whose synth-prog odysseys hinted at his obsession with the divine. Subsumed by the teachings of Bhagwan Shree Rajneesh, he penned an album in praise of the infamous religious leader of which two superbly mind-bending tracks are featured on this compilation.
Charting the decade from 1970 to 1980 as the dreams of political and spiritual liberation seeded in the ‘60s turned to dust, Nippon Acid Folk surveys a little explored corner of Japanese music history, but one which ultimately laid the foundations for an independent music industry, launching the careers of Hosono and others in the process.
Nippon Acid Folk 1970-1980 is pressed on 12” vinyl and represents the start of Time Capsule’s deep dive into Japan’s rich history of folk and psychedelic soul music. More
The birth of Japan’s nascent acid folk scene was rooted in the messy and invigorating political climate of the late 1960s. It is a story of Dadaists, communists, pharmacists and cult leaders, led by a young generation of upstart students, artists and dreamers hellbent on turning their world upside down.
Born on the campuses of Tokyo, Kyoto and Osaka, and centred around newly formed independent label and left-wing stronghold URC, this uniquely Japanese form of folk expression provided an outlet for musicians who were tired of aping Western sounds and instead found ways to sing in Japanese and integrate traditional forms in new ways.
At the forefront of this movement was Yellow Magic Orchestra’s Haroumi Hosono, a polymath innovator whose band Happy End released the first Japanese language rock album, and whose influence would go on to be felt across Japanese music for decades. Alongside, and informed by the Kansai scene’s Takashi Nishioka and Happy End collaborator Ken Narita, they experimented with cadences and accents of the Japanese language to open the door for others to experiment with their own forms of psychedelic folk too.
Some, like Nishioka, were more inspired by Dadaism than drugs, while others, like Kazuhisa Okubo, would ultimately find work as a chemist, having founded two further folk groups that flirted with varying levels of success. Obstinately uncommercial, relentlessly creative, the music featured on Time Capsule’s Nippon Acid Folk represents a broad church of influences.
Perhaps the wildest addition to this congregation however was Hiroki Tamaki, a classically-trained violinist and committed iconoclast, whose synth-prog odysseys hinted at his obsession with the divine. Subsumed by the teachings of Bhagwan Shree Rajneesh, he penned an album in praise of the infamous religious leader of which two superbly mind-bending tracks are featured on this compilation.
Charting the decade from 1970 to 1980 as the dreams of political and spiritual liberation seeded in the ‘60s turned to dust, Nippon Acid Folk surveys a little explored corner of Japanese music history, but one which ultimately laid the foundations for an independent music industry, launching the careers of Hosono and others in the process.
Nippon Acid Folk 1970-1980 is pressed on 12” vinyl and represents the start of Time Capsule’s deep dive into Japan’s rich history of folk and psychedelic soul music. More
1
ezekiel honig - May, 11, 2012
2
ezekiel honig - Drafting Hindsight
3
ezekiel honig - Here we are
UPC 827170139626 Release Date: April 28th, 2014
Tracklist EP: Side A A1. May 11, 2012 excerpt of recorded performance in NYC on May 11, 2012
Side B B1. Drafting Hindsight B2. We are here
A New York City native, and founder/label manager for the Anticipate and Microcosm labels, Ezekiel Honig concentrates on his idiosyncratic brand of emotively warm electronic-acoustic music. Using the loop as more of a tool than a rule, Honig paints outside the lines, nestling into a comfortable, shared space between muted techno, melodic, event-driven ambient, textural downtempo and slowmotion house - using them as reference points from which to stray, rather than as steadfast frameworks. Drawing on the rich history of musique concrete, Honig looks to incorporate a material nature into his music by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. Using the sounds of plastic, metal, wood and air in collaboration with Rhodes, guitar, horns, piano and other instrumental origins, his music is one of contrast and contradictin, combining minimal, abstract tendencies with a core of timeless harmonics - pairing inviting, fuzzy chords with clunky and dirty "mishaps." More
Tracklist EP: Side A A1. May 11, 2012 excerpt of recorded performance in NYC on May 11, 2012
Side B B1. Drafting Hindsight B2. We are here
A New York City native, and founder/label manager for the Anticipate and Microcosm labels, Ezekiel Honig concentrates on his idiosyncratic brand of emotively warm electronic-acoustic music. Using the loop as more of a tool than a rule, Honig paints outside the lines, nestling into a comfortable, shared space between muted techno, melodic, event-driven ambient, textural downtempo and slowmotion house - using them as reference points from which to stray, rather than as steadfast frameworks. Drawing on the rich history of musique concrete, Honig looks to incorporate a material nature into his music by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. Using the sounds of plastic, metal, wood and air in collaboration with Rhodes, guitar, horns, piano and other instrumental origins, his music is one of contrast and contradictin, combining minimal, abstract tendencies with a core of timeless harmonics - pairing inviting, fuzzy chords with clunky and dirty "mishaps." More
1
V.A. - A1.Woman Of The World
2
V.A. - B1.Magic Number
3
V.A. - B2.III
1
SIRS - Zappelnder Hindu
2
SIRS - Treibsand
3
SIRS - Ocean Dreams
4
SIRS - Zappelnder Hindu (Instrumental)
After his recent release on Robert Johnson, Daniel Klein aka SIRS returns to his own Sirsounds Records imprint serving up more sumptuous original compositions on the searingly good ‘The East Is Near EP.’
The Berlin-based musical polymath SIRS (Sounds in Real Stereo), and his project has won over an abundance of admirers across the dance underground in recent years. He's produced and remixed for benchmark labels including Public Possession, Live at Robert Johnson, Compost, Future Disco, and Music for Dreams, and has been drafted to remix artists as diverse as 2raumwohnung and Ennio Morricone. His latest release arrives on the label he launched in 2017 to provide a home for his effervescent output.
On ‘The East Is Near’ Klein has elegantly produced and cleverly arranged spicy and exotic cuts for different moments of the dance, however they all have something in common – an Eastern touch. Teaming up with Berlin master musician Declan McDermott, the captivating tracks have already done some damage and noise on dancefloors around the world.
DJ Support:
Artwork, Felix Dickinson, Radio Slave, Ron Basejam, Eric Duncan, Hot Toddy, Damian Lazarus, Bill Brewster , A love from Outer Space, Greg Wilson , Massimiliano Pagliara ,Greame Park, Slothboogie, Willie Graff, Max Essa, Leo Mas, Dicky Trisko, Rollover Milano, Paula Tape More
The Berlin-based musical polymath SIRS (Sounds in Real Stereo), and his project has won over an abundance of admirers across the dance underground in recent years. He's produced and remixed for benchmark labels including Public Possession, Live at Robert Johnson, Compost, Future Disco, and Music for Dreams, and has been drafted to remix artists as diverse as 2raumwohnung and Ennio Morricone. His latest release arrives on the label he launched in 2017 to provide a home for his effervescent output.
On ‘The East Is Near’ Klein has elegantly produced and cleverly arranged spicy and exotic cuts for different moments of the dance, however they all have something in common – an Eastern touch. Teaming up with Berlin master musician Declan McDermott, the captivating tracks have already done some damage and noise on dancefloors around the world.
DJ Support:
Artwork, Felix Dickinson, Radio Slave, Ron Basejam, Eric Duncan, Hot Toddy, Damian Lazarus, Bill Brewster , A love from Outer Space, Greg Wilson , Massimiliano Pagliara ,Greame Park, Slothboogie, Willie Graff, Max Essa, Leo Mas, Dicky Trisko, Rollover Milano, Paula Tape More
1
Tropical Pop - Lilt
2
Tropical Pop - Rubicon
NEW LABEL ALERT!!!
Tropical Pop arrive on the scene to serve peak-time refreshment to the stale dancefloors of the world.
Bursting with flavour, artificial sweeteners and a whole load of E numbers, these cuts deliver totally tropical disco pump and tangy technoid madness - teased, tweaked and transformed for maximum sugar rush.
LIMITED EDITION - ILLICIT INGREDIENTS
Feel the fizz, folks. More
Tropical Pop arrive on the scene to serve peak-time refreshment to the stale dancefloors of the world.
Bursting with flavour, artificial sweeteners and a whole load of E numbers, these cuts deliver totally tropical disco pump and tangy technoid madness - teased, tweaked and transformed for maximum sugar rush.
LIMITED EDITION - ILLICIT INGREDIENTS
Feel the fizz, folks. More
1
fes - Alstadtking
2
fes - Alstadtking (Hade Rework)
" Official reissue of a German pop rap obscurity in addition with a bombastic HADE rework. Comes in picture sleeve with the original artwork. Limited to 300 copies.
The project fes consisted at its core of Fred Schwalbacher and Herry Schmitt. Their impetus was to combine the local dialect of the German Saar area with modern musical styles. After a full length release in 1984, the single 'Altstadtking' was released in 1986.
At that time musicians were encountered with rap music and some experimented with and included it into their musical output. 'Altstadtking' (old town king) is the result. The old town part of Saarlouis was a mecca for all kind of braggadocio back then, it was all about seeing and beeing seen. This tongue-in-cheek song is the story of a man showing off and bragging at nighttime while living an ordinary life at daytime.
For the flipside jack of all trades and any-bpm-powerhouse HADE (baumusik, OYE Records, Razor-N-Tape) did a stunning rework. He chopped and cooked down all instrumental parts of the original into a new dub version, added keys & bass on top and an extra punch to the mixdown for his vision of a dancefloor-ready 'Altstadtking'.
Rock it! " More
The project fes consisted at its core of Fred Schwalbacher and Herry Schmitt. Their impetus was to combine the local dialect of the German Saar area with modern musical styles. After a full length release in 1984, the single 'Altstadtking' was released in 1986.
At that time musicians were encountered with rap music and some experimented with and included it into their musical output. 'Altstadtking' (old town king) is the result. The old town part of Saarlouis was a mecca for all kind of braggadocio back then, it was all about seeing and beeing seen. This tongue-in-cheek song is the story of a man showing off and bragging at nighttime while living an ordinary life at daytime.
For the flipside jack of all trades and any-bpm-powerhouse HADE (baumusik, OYE Records, Razor-N-Tape) did a stunning rework. He chopped and cooked down all instrumental parts of the original into a new dub version, added keys & bass on top and an extra punch to the mixdown for his vision of a dancefloor-ready 'Altstadtking'.
Rock it! " More
1
Sunshine Sound - Birthday Medley (Edit By Francois K)
2
Sunshine Sound - X Medley (Edit By Francois K)
SUPER LIMITED !!.
Francois K : "Birthday Medley" and "X Medley: : back to back on black 10", high quality stereo funk, Loft and Garage Classics! More
Francois K : "Birthday Medley" and "X Medley: : back to back on black 10", high quality stereo funk, Loft and Garage Classics! More
1
Moar - N
2
Moar - NN
We take you now to the creative hub of 45 Loves studio. It’s hard to fathom that this series is up to the letter N. It’s been quiet the journey, that every time another 45 Loves seven comes out we are just amazed at how good it is.
This clutch of 'Brazil Party' cuts will blow ears and minds away. What we're dealing with here is two sides of heat, with those trademark drums to boot. The flip takes a tried and trusted classic and gives it that Moar flip which seals the deal for us. Two heavyweight cuts from producer Moar. Check out both tracks below.
A - N
B - NN More
This clutch of 'Brazil Party' cuts will blow ears and minds away. What we're dealing with here is two sides of heat, with those trademark drums to boot. The flip takes a tried and trusted classic and gives it that Moar flip which seals the deal for us. Two heavyweight cuts from producer Moar. Check out both tracks below.
A - N
B - NN More
1
La She Ba - Vocal
2
La She Ba - Edit
A slice of seriously sought after US disco from La She Ba on Heavenly Star Records that has been a firm favourite of master selector Hunee and trades hands for £125+ on the secondhand market, gets a fresh reissue and remaster for a new generation of listeners.
Formed of Catherine Miller on vocals, produced and written by Harvey Miller and arranged by the mighty Patrick Adams, La She Ba – You've Been Hunchin' hits in all the right spots. Exquisite instrumentation with swooning strings, enchanting chords and tight drums laying the foundation for Miller’s celestial vocals to be the star of the show. Heavenly by name, heavenly by nature this is a must have 12 inch for any collection. More
Formed of Catherine Miller on vocals, produced and written by Harvey Miller and arranged by the mighty Patrick Adams, La She Ba – You've Been Hunchin' hits in all the right spots. Exquisite instrumentation with swooning strings, enchanting chords and tight drums laying the foundation for Miller’s celestial vocals to be the star of the show. Heavenly by name, heavenly by nature this is a must have 12 inch for any collection. More
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Comb Edits - 7” mix
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Comb Edits - Dub mix
DJ Support: Admin, Charlie Bones, Frederika, Gilles Peterson, Make A Dance, Rustam Ospanoff, Sam Don, Semi-Skimmed Edits.
This rare take on the Bobby Caldwell classic will bring latin warmth to any dancefloor. Por Amor was the title track from the first ITTY release in 2021, after many requests for a repress it’s finally out again – now on a 7” with a new Comb dub version on the flip!
Feedback: 'This is a really great re-edit of a track you will recognise' - Gilles Peterson More
This rare take on the Bobby Caldwell classic will bring latin warmth to any dancefloor. Por Amor was the title track from the first ITTY release in 2021, after many requests for a repress it’s finally out again – now on a 7” with a new Comb dub version on the flip!
Feedback: 'This is a really great re-edit of a track you will recognise' - Gilles Peterson More