Soundway presents Ferdinand ‘Maréchal’ Papillon’s underground club classic Moulongo - recorded in Paris in 1995 and highlighting the Zouk/dancehall/Makossa crossover sound that was then coming out of the city’s studios. Features a new remix from Canadian producer Poirier for a 2024 bassline zouk mover, cut loud and proud on 12” vinyl.

Ferdinand ‘Maréchal’ Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time.

‘Moulongo’ originally appeared on Papillon’s highly sought after 1995 album “Homme fort….je suis sérieux” and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who’s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot. More

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

The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman and Egypt 80 trumpet player Bade for a second EP of vital Afro Disco and Soul. The EP follows up 2022’s “Get It As You Move” EP, blending layers of vocal harmonies and synth washes with a rock solid disco base. The sound stays faithful to the analogue production techniques of the 70s and 80s, adding a modern touch informed by Simon Durrington’s Digital Afrika project.


Lead single Hold You Tonight features Nigerian disco icon Steve Monite (best known for his mega hit “Only You”), revisiting his 80s origins with a dancefloor-ready slice of dubby boogie.


Rich Man Poor Man (featuring Ghana’s very own Rob) slows down the tempo and brings the highlife influence to the fore, while Sometimes It Rains brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili. More

Soundway presents a long-awaited remaster and re-cut of the 1976 album ‘Ifetayo’ by Black Truth Rhythm Band, an important and overlooked chapter in Trinidad’s rich musical history that blends West African influences with jazz, funk and the social commentary of the calypso tradition.

Led by the charismatic Oluko Imo (who went on to record with Fela Kuti and perform with members of Fela’s Egypt 80 band ), the group drew on the strong connections to Yoruba culture and Orisa traditions in Trinidad, looking to Africa for inspiration and reflecting the burgeoning Black Power movement of the time.

Recorded at KH studios in Port of Spain, Ifetayo (Yoruba for ‘Love excels all’) was the group’s sole album release. Imo contributed lead vocals and played bass, kalimba, conga, flute and percussion, channelling music from both sides of the Atlantic into a distinctive and unique slice of Afro Trinidadian expression.

Includes bonus track “Imo” not included on the original LP More

Reissue of the 80s 12” single from Trinidadian musician Oluko Imo (Black Truth Rhythm Band), featuring Fela Kuti and Femi Kuti.
Recorded between Lagos and New York in 1988, the tracks sit at the fault line of the Trinidad-Yoruba connection, blending calypso heritage with the Afrobeat and jazz of Nigeria

On the A-side, title track ‘Oduduwa’ is a brooding slice of peak-era Transatlantic Afrobeat, blending a heartfelt plea for social justice and equality with a haunting piano line, shuffling drums and ethereal sax solo.
The song takes its name from Oduduwa, the founder of the Ife Empire, who is also seen as a divine Orisha (deity) in Yoruba culture, one that is often evoked by musicians and activists in Trinidad as a signifier of Yoruba heritage on the island.

On the flip, ‘Eyes Are Getting Red (Were Oju Le)’ is a long-lost slice of low slung Afrobeat featuring both Fela and Femi Kuti. Classic Nigerian horns and keys combine with Oluko Imo’s Caribbean-influenced guitar and Fela’s virtuoso sax solo, bridging the musical gap between Lagos and Port of Spain. More

Reissue of the highly sought-after 7” from 1979 by Chicago reggae outfit Gypsy Fari.

Gypsy Fari was a project born in the south side of Chicago, after a chance meeting between St Kitts expat Leroy Webster and local music grad Kevin Coleman. The pair set out to blur the boundaries of genre with their unique brand of music,spearheaded by Webster’s Caribbean roots and fused with the soul and blues the midwest is famous for.

A striking stand-out of the band’s repertoire comes via their debut recording, laid down at Curtis Mayfield’s legendary Curtom Studios. The EP opens with Chi-Town Reggae - a super-charged blend of reggae and disco, led by Websters infectious vocal, steeped in soul and powered by a relentless rhythm section. Hail Jah follows closely, written on the hilltops of the outskirts of Kingston, Jamaica, it’s a deadly roots reggae missile that pays homage to Websters beginnings.

Once dubbed by a local news outlet “Gypsy Fari are to Chicago reggae what Muddy Water is to Chicago blues” - now remastered, repackaged and made available again for the first time since its initial release. More

Five of Rex Omar's premier cuts remastered for a new self-titled EP - an irresistible blend of street-soul-come-highlife, with elements of bouncing 90s RnB/hip-hop !

Over his career Rex Omar has evolved the genre, pushing boundaries and dazzling listeners. A definitive piece of his repertoire comes via his Dangerous album: while it was self- produced and recorded in London circa 1997, upon CD release it saw success mainly within his homeland of Ghana. An irresistible blend of street-soul-come-highlife, with elements of bouncing 90s RnB/hip-hop, it was developed with help from Ibibio Sound Machine’s Kari Bannerman and prolific Jamaican producer Bill Campbell. From this album rising London producer and DJ Aroop Roy revisits the four-to-the-floor excursion ‘Dada’, repurposing for today’s dancefloor with the addition of fizzing synth chords and stabs.

While Omar regularly raps on his earlier works, on ‘Kele Ngele’ (taken from his 2004 album Ajala) we hear a yearning melodic vocal over a more laid back RnB beat. This rounds out the new Rex Omar EP for the discerning listener to experience the full breadth of his inventive output. More

Remastered release of Circus Underwater’s 1984 self titled outing, including unreleased tracks taken from the original ¼” tapes. Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, thisdeluxe version includes six unreleased tracks unearthed fromthe original 1/4” tapes, and presented with an insert, includingnever-before-seen photos and the fascinating story behind the music.

Featuring artwork from Grateful Dead collaborator, DavidLundquist, the album encapsulates a unique moment intime. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embarkon a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippieSan Francisco. The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminatein an odyssey that seamlessly bridges the gap between thespaced-out creativity of the 70s and electronic music of today.

releases September 15, 2023

Original artwork by David Lundquist.
Mastering and lacquer cuts by Frank Merritt, The Carvery Studio, London.
Artwork restoration by Javi Bayo.

FOR FANS OF:
Jeff Majors, Song Of The Golden Lotus, Peter Westheimer, Workdub, Floating Points More

Soundway Records presents Ayo Manuel ‘1983-1990’, a collection of selected works by one of Nigeria’s DIY pioneers.

This mini compilation selects the stand out cuts from his two albums Love Candidate and Party Time, showcasing the evolution of Ayo’s music. Side A is led by Song Of Love (Instrumental) - mid-tempo, synth-heavy music toeing the line between lo-fi crunch and sophisticated charm. This is followed closely by afro-disco melters Don’t Stop and the aptly titled Fun Time. Both with strong American, disco-funk leanings but full of Nigerian flavour, they come signed, sealed and delivered for any discerning dancefloor.

Sojourn (Ajo) lights up side-B, a coming-of-age journey that sets the tone for the rest of the album. With slick US production, but with its feet firmly planted in Yoruba culture, we find a more developed artist combining talking drums with distinct ’90s production, that deliver a unique blend of afro-pop. Gboro Mi Ro echoes the influence of Nigeria’s biggest musical export, Fela Kuti, but still retains its own particular character. Do Good follows in the footsteps of its predecessors but with added drama and depth. More

2023 Repress!

Conceived by Colombian musician Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will ‘Quantic’ Holland, Ondatrópica brings together an all-star cast representing both the classic and modern styles of la musica Colombiana.

Over 3 weeks in January 2012 at the famous Discos Fuentes studios in Medellín legendary figures from Colombian music joined a group of younger Colombian musicians that included members of both Mario’s band Frente Cumbeiro and Quantic’s Combo Barbaro. The plan; “to re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production in a classic and mythical setting.”

For the recording Will and Mario invited musicians that they felt had made a particularly important contribution to the history of tropical music in Colombia. Michi Sarmiento, crowned the Godfather of Ondatrópica during the recording process, sounds as at home playing on the drunken Black Sabbath cover ‘I Ron Man’ as he does on 'El Caiman y Gallenazo', a song penned by his father.

Multi-instrumentalist Fruko, the prodigy of the Fuentes Studio and one of the top progressive minds of the 70s got so involved that he joined the project for much longer than originally planned, and even ended up preparing desserts and fruit salads for the large group of musicians that had been assembled in the studio.

The Barranquilla-based accordion-playing don and singer Anibal Velasquez also joined the recording for two days. Another of the 42 musicians involved was octogenarian pianist Juancho Vargas who came straight from hospital to the studio to record ‘Cumbia Espacial’.

A mixture of well known and classic Colombian styles such as cumbia, porro, gaita and champeta clash head-on with boogaloo, ska, beat-box, hip hop, dub and funk. The tracks range from straight-up timeless pieces with one foot in the 1960s and 70s to progressive and forward-looking recordings firmly rooted in the 21st century. Mario and Will also adopted a 100% analogue recording approach in tribute to a sound and feel that the studio had been lacking for some years now.

Chilean MC Ana Tijoux takes the microphone for ‘Suena’, the melody line an ode to the major-key sound of 60s Sabanero cumbias. El Chongo, a young percussionist and beatboxer from the Caribbean city of Cartagena features on ‘Rap Maya’, a sound-clash with 82-year old gaita player Pedro Ramaya.

Soundway’s exploration into Colombian music began in 2007 with it’s much acclaimed compilation ‘Colombia! The Golden Age of Discos Fuentes The Powerhouse of Colombian Music 1960-76’. That compilation features many original works from the above-mentioned artists as well as some of the main session men of the day that also played on this new record. It's fitting then that Ondatrópica came together in the legendary Discos Fuentes studios in Medellín. More

Tracklist:
A: Cycli Infini
B: Cycli Infini

Dutch multi-instrumentalist Felbm returns with the conceptual album ‘cycli infini’ : a 38-minute composition of metamorphosing tape loops, musical patterns and instrumental sketches. Further exploring the concept is the vinyl release which features the track spread over both sides and cut to the end of each locked groove - creating an essentially never-ending piece that challenges the idea of the traditional listening process.

The idea came to fruition by way of a lifelong interest and growing awareness of the cyclical nature of the world around him - be it through observing nature, or the mathematical and mind-bending works of Dutch artist MC Escher, or minimalist composers such as Erik Satie, Laraaji and Melaine Dalibert. “The openness of Laraaji’s and Satie’s music have also been an influence to create a certain softness and feeling of comfort, as I like this piece to be a place you want to revisit”, says Felbm, real name Eelco Topper.

While Topper’s previous releases on Soundway Records comprised series of short, individual sketches, on cycli infini the tapestry is sewn seamlessly together using a step-like progression through the circle of fifths, which as the name suggests, brings the listener back to the musical key and soundscape at which they started. Should the full track be on repeat, it begins anew without being noticed.

The piece began life with a layer of drone loops using tapes and delay pedals, over which acoustic instruments such as flute, saxophone and bass trumpet would playfully but gently interpret a melody - toying with jazz, ambient, fourth world and percussive sounds. As the music evolves through the key progression, organic elements such as birdsong and wind chimes ground the piece in nature. Says Topper: “the never-ending metamorphosis of matter has always fascinated me, the idea that nothing ever really disappears and everything has already been here… just in different shapes.”

For Fans of:
Laraaji, Basil Kirchin, Gaussian Curve, Young Marco, Greg Foat, Bibio, KPM library records More

Tracklist:

Sida A
1. Ojinga’s Own
2. What To Do
3. Stay Away
4. Uncomprehensidensible
Radio-Matic Woman
5. Neighbour Jean
6. G.o.-Go

SIDE B
1. Massacura Man
2. Woman A Dead Ya Fuh Man
3. Ka Duma
4. I’ve Got To Be Somebody
5. No Intention

The 1974 debut album Ojinga’s Own and single Basa Bongo/Black Pepper by Guyanese Afro-Folk band The Yoruba Singers has been remastered for vinyl and digital.

The Yoruba Singers formed in Georgetown, Guyana in 1971. Despite their name they were not from Nigeria, but identified strongly with the area from which so many of the African diaspora in Guyana and neighbouring regions were originally descended.

The group started adapting Guyanese traditional folk music as well as writing their own - blending a mixture of protest, social commentary, blues, and genres inspired by the times. Beginning with about 12 people sharing vocal duties, most of the early repertoire was inspired by folk songs that started life on plantations or in religious settings accompanied by a few sparse musical instruments.

Integral to the Yoruba Singers’ sound are echoes of Obeah traditions which are very closely related to the Santería religion of Cuba and the Orisha and Shango traditions of Trinidad and Tobago. Calypso and steel-band culture from nearby Trinidad and Tobago was to some extent part of the musical DNA of the group, but they were naturally also influenced by the massive volume of rocksteady and roots-reggae coming from Jamaica.

For Fans Of:
Sir Victor Uwaifo, Francis Bebey, Fela Kuti More

Tracklist:
A: Basa Bongo
B: Black Pepper

Guyana folk music reinterpreted and infused with Afro-roots and culture, reissued on vinyl for the first time.

A year after their debut album ‘Ojinga’s Own’, the Yoruba Singers from Guyana released the singles ‘Black Pepper’ and ‘Basa Bongo’. These two songs were recorded in Barbados and released on the Green Shrimp label and became extremely popular throughout the Caribbean and South America. The music also became an integral part of the very beginnings of what was later to become the Champeta Criolla sound in the Caribbean coast of Colombia.

For Fans Of:
Sir Victor Uwaifo, Francis Bebey, Fela Kuti More

Following up on their acclaimed debut EP Yagana in 2022, the 5-piece band return with a brand new offering: Backslider.

Dressed as if they would be equally comfortable starring in a modern spaghetti western as they are cutting slick silhouettes on a festival stage - are Guinean singer Falle Nioke, Graham Godfrey on drums, Steve Pringle on keys, Tom Dream on guitar and Josh Ludlow on bass.

As Pigeon develop and hone their sound further, Afro-disco remains at the core while jazz and no-wave make way for new elements of electro, rock and synth pop. The introduction of sequencers and drum machines sprinkles a little more structure into the mix, however the recording process still very much embodies the DIY spirit of band members that enjoy jamming together.

With previous support from Gilles Peterson, Elton John, Iggy Pop, Bandcamp, NPR, Uncut and many more, the new Pigeon will undoubtedly fly off the shelves.

FOR FANS OF:
Falle Nioke, Michael Kiwanuka, Sault, Moses Boyd, Sons of Kemet, Ghost Culture, Ill Considered.

Tracklist:

SIDE A
1. Mama Yo Mama Yo
2. Ikanabore
3. Trust

SIDE B
1. Backslider
2. Infinity (Radio Edit) More

Soundway reissues the vocal and instrumental versions of ‘If I Love You’, from G.C. Cameron, the lead singer of the legendary soul group The Spinners. The release also includes two unreleased recordings from the same session - ‘Live for Love’ and ‘Thank You Baby’.

Hailing from McCall Creek, Mississippi, G.C. Cameron rose to fame at 22 years of age, when he joined Motown Records to become lead singer of The Spinners. After a string of well received releases, including chartbuster ‘It’s A Shame’, co-written and produced by Stevie Wonder, Cameron left The Spinners to pursue a solo career.

It was a trip to Fantasy Studios, San Francisco in 1977, where Cameron teamed up with Harvey Faqua, Greg Crockett and Elgie Stover to realise what is arguably his finest work. A full album was recorded, but only two tracks saw the light of day, via the short-lived UK label, Flamingo.

Soundway’s Live for Love release comprises the two in-demand cuts previously released on Flamingo - the deep and dubby disco-workout ‘If I Love You (Instrumental)’ and soul drenched ballad ‘Live For Love’, coupled with two unreleased recordings rescued from the abyss after 45 years of collecting
dust. The modern-soul-dancer ‘Thank You Baby’, backed by Jeanie Tracy and Martha Walsh, is a jewel that displays Cameron’s full range whilst the vocal to ‘If I Love You’ elevates the recording to dance-floor-ready. More

Standard Sleeve Edition

New Zealand’s jazz luminaries have assembled to form an all-star cluster: The Circling Sun.

Channeling spiritual/modal jazz and Latin rhythms, they simultaneously reference the greats such as Sun Ra, Pharoah Sanders and Alice Coltrane, while maintaining a fresh perspective on ensemble dynamics.

Perhaps the group’s name is no coincidence - each instrument seems to be in orbit around the concept of symbiotic synergy - and everyone is given equal space to shine; from a psychedelic Korg, to a delirious saxophone or the gentle ripples of a harp. There’s a huge array of keyboards, skillfully manned by the likes of Guy Harrison and Cory Champion (Clear Path Ensemble), with a standout acoustic piano solo by Harrison on “Plume”.

Not to be outshone, the wind section delivers ecstatic saxophone riffs, fluttering flutes and solid horn choruses throughout. Meanwhile, providing vital foundational support are the percussion (Soundway alumnus Julien Dyne), vibraphone, acoustic bass and full choir arranged by Matt Hunter.

It’s a testament to their harmonious relationship and skill that this debut album instantly sounds like a classic from a group that might have been together a decade.
More

New Zealand’s jazz luminaries have assembled to form an all-star cluster: The Circling Sun.

Channeling spiritual/modal jazz and Latin rhythms, they simultaneously reference the greats such as Sun Ra, Pharoah Sanders and Alice Coltrane, while maintaining a fresh perspective on ensemble dynamics.

Perhaps the group’s name is no coincidence - each instrument seems to be in orbit around the concept of symbiotic synergy - and everyone is given equal space to shine; from a psychedelic Korg, to a delirious saxophone or the gentle ripples of a harp. There’s a huge array of keyboards, skillfully manned by the likes of Guy Harrison and Cory Champion (Clear Path Ensemble), with a standout acoustic piano solo by Harrison on “Plume”.

Not to be outshone, the wind section delivers ecstatic saxophone riffs, fluttering flutes and solid horn choruses throughout. Meanwhile, providing vital foundational support are the percussion (Soundway alumnus Julien Dyne), vibraphone, acoustic bass and full choir arranged by Matt Hunter.

It’s a testament to their harmonious relationship and skill that this debut album instantly sounds like a classic from a group that might have been together a decade.
credits
releases May 19, 2023

Artwork: Meurig Rees
Mastering and Lacquer Cut: Frank Merritt, The Carvery Studio
More

Soundway presents a double-sider of raw, West Indian Funk from 1977. Led by King Wellington's 'Shango', the stand-out cut harvested from his Sooner Or Later LP finally gets the 45 treatment it deserves. Inspired by the Shango ritual with its roots in Yoruba culture, traces of Calypso music are driven by hypnotic bass and Wellington's signature vocal, making up a musical blend only found in the Caribbean.

Hidden on the B-side, 'Mystery Music' fronted by Canadian musician Tony Springer, embarks on a dreamy, dynamic and even a touch psychedelic trip. Steel pans coupled with floating horns, electronic keyboard effects, crisp drums and subtle guitar licks cook up a soundscape baked by the Trinidad sun. While original copies climb their way to impossible-to-find status, enthusiasts will be excited to hear this sought after piece of music is available on the 45 format again. More

Demi Riquisimo’s Semi Delicious return for their 18th vinyl only excursion via Berlin based Revivis’ ‘Surrender The Body’ EP.

A dance floor focused 4 tracker, the EP is a distillation of the sonic palette quickly becoming synonymous with the sound of Revivis, nodding to the past whilst looking to the future, all through the lens of timeless house fundamentals.

The release kicks off with ‘Pick Me Up’, a diva vocal affected chugger that leans on the 90s progressive aesthetic whilst remaining versatile and current. The A-side wraps up with the title track ‘Surrender The Body’. A minimal fuss, hands in the air, euphoric piano house jam that can be noted for it’s subtlety despite it’s anthemic nature.

No foreplay on the flip as we’re straight into the mixer via ’Perceptions’. A sample heavy four/four beat combines with a bass line that implores your head to nod along a menacing top line.. big peak time business on this one. Closing out a wildy impressive Semi Delicious debut from Revivis is ‘Ruminating’ bringing with it a healthy helping of gospel keys and acid. More

Repress!
On the label (A-Side):
This special release is dedicated to Detroit DJ Legend Ken Collier. His untimely passing deeply touched me personally, as he was one of a small few who always supported me & my music. Because of Ken Collier, Detroit developed a dance scene, which inspired artist & producers to make dance records, which gave birth to Techno, which has provided careers for many of you in the business today. So I dare ask all you techno producers, djs, record labels, record shops, techno magazines, clubs which play techno music, and fans of techno to pay respect to Ken Collier just as you would our other fine music innovators.

Side B:
However, this special compilation isn't about techno, it's about H.O.U.S.E. sounds - broadcasting it to you live from the inside in lovely Ste - re - o!!. This record contains no artist or track listing because i don't want this to be about who made the tracks, track titles, or even who wrote this commentary. This record is my personal tribute to him and how he has motivated me to make my contributions to house music. Thank you Ken Collier, for helping me grow not just as a dj or record producer, but as a person. Every dj and dance artist here in Detroit owes thanks to you for going out into the musical forest, chopping down trees, thus paving the way for us to build HOUSE!.

"In Loving Memory Of Detroit DJ Legend Ken Collier"

More

Embarking on a celestial journey, "The Day And Night" drops on Sex Tapes From Mars, unfolding as a four-track odyssey, each piece serving as a stellar waypoint in the vast universe of groove. Thudding drums, warbling bass, and tingling synth leads - Ildec’s sonic tapestry transcends conventional techno, with a hard focus on the 90s, blurring the lines between the earthly and the extraterrestrial. With each track, he invites listeners to lose themselves in the infinite expanse of deep, titillating sound.

The journey kicks off with "Pesadillas", a haunting exploration of dark, atmospheric textures intertwined with pulsating rhythms, transporting the dancefloor into their subconscious.

"Listo Para El Space" emerges as a guiding light in the night, its hypnotic beats, vintage prodding bassline, and ethereal chords propelling woozy momentum forward into the stratosphere and beyond.

"Dai Fra" follows suit, weaving intricate sonic layers with its relentless disco-esque bassline, and retro synths, evoking a sense of weightlessness.

"You High" on the flip isn't merely a late-night bop; it's a sonic manifesto that celebrates the boundless potential of electronic music past and future, and as a medium for transcendence. Ildec's approach defies categorisation, drawing inspiration from a myriad of influences to create a sound that is both timeless and futuristic.

As Sex Tapes From Mars continues to lead the charge in sonic innovation, their sixth outing stands as a testament to the label's commitment to lesser-heard artistic excellence. Ildec's offering serves to guide listeners to distant galaxies and offers a glimpse into the infinite possibilities of outsider dancefloor moments. More

"Two-pronged, remix attacks don't come much more exciting and potent than this... as here - thanks to our good friends at Nervous NYC - we're beyond hyped to bring you the legendary Masters At Work and Dave Lee on one single, fully weaponised package. Putting their own, inimitable spins on Louie Vega's ?Music Is My Life? - which features the unique talents of Unlimited Touch - we're treated to a pair of wonderfully complimentary, but no less idiosyncratic re-rubs from these two stalwarts of the scene. With a production hand and artistic touch like no other - Masters At Work lead the way here, with their main remix. Characterised by that trademark looseness and deliciously warm, organic approach - their rework is awash with woozy psychedelia and layered so expertly, that getting lost in the music is both gloriously simple and an absolute pleasure. But no true Vega & Dope remix suite, would be complete without a bonafide Dub version. And for ?Music Is My Life? - this sees the dynamite duo take proceedings down a distinctly more mesmeric and mood-laden path… one where the vocal is instead used as a powerful rhythmic weapon, and the star of the show, is a surreptitiously morphing and shape-shifting, delicately acid-laced synth lead. Next up - having recently switched his attentions to productions under his own namesake - is Z Records' head honcho, Dave Lee. Snapping into life with its crisp and punchy drum work - what Lee's remix does share with that of the Masters is in the over-arching, tripped-out haze which douses proceedings. However - where his remix opts to stick its head well and truly above the parapit, is in it stylistic flavouring. As when it comes to slicing that genre cake, so to split the worlds of Disco and House perfectly down the middle - there's simply no one who does it finer.” More

Mexican sensation Pahua comes to Razor-N-Tape via a huge remix project featuring some of the hottest producer names in current outer-national dance music. This special 7 inch version features two newcomers to the RNT remix roster.

On the A side, global groove merchant Poirer delivers a stripped down and hypnotic mix in his signature style Pahua’s uptempo anthem ‘Espantapájaros”.

On the B side, Detroit Latin production legend John Beltran adorns the melancholic ‘Flor de Jazmin’ with a samba-inflected rhythmic foundation and a lush horn arrangement that transports you straight to Cafe del Mar, Ibiza.

This package honors the essence of the original music, while flipping it in quintessential RNT club-ready fashion. More