1
Juan Pablo Torres - Cacao (Dan Tyler NAD Bulto Versión)
2
Juan Pablo Torres Y Algo Nuevo - Pastel En Descarga (Dan Tyler NAD Pepino Versión)
3
Grupo Los Yoyi - Paco La Calle (Nick The Record Re-Edit)
Good friends and Record Mission co-captains, Dan Tyler (one half of the Idjut Boys) and Nick The Record, take the reins for the third volume of the Mr Bongo Edits 12" series. With previous editions coming courtesy of Danny Krivit and Luke Una, Dan and Nick set their sights on a hand-picked selection of iconic ‘70s Cuban recordings for this three-track cosmic whirlwind. Across the A side, Dan picks out two Juan Pablo Torres tracks, with Nick taking on Grupo Los Yoyi on the B. Tweaking, extending and reworking the recordings with a dose of extra magic they remould the tracks to fit the sounds and structure of today’s dancefloors.
Having formed the Idjut Boys in the early ‘90s, Dan and Conrad McDonnell have crafted a dubbed-out, disco-tinged style that permeates their countless productions, remixes and DJ sets. Speaking of the two tracks Dan has chosen to rework for this EP he mentions, “Having been caught under an avalanche of good music from Mr Bongo, I took it upon myself to extend and add effects to a couple of the fantastic tracks from the Juan Pablo Torres LPs they recently re-issued. Just for disco jockey and barn dance use.”
First, Dan looks to Cuban maestro Juan Pablo Torres’ 1978 album 'Algo Nuevo', taking one of the standout tracks ‘Cacao’ and giving it more space to breathe. Teasing out the scatting vocal line and percussive climax that nods to George Kranz's ’83 electronic disco anthem 'Din Daa Daa', whilst adding more cosmic tripped-out synths and space echoed dubs, Dan builds the tension to fine effect. This track sounds immense on a big club system and the swirling synths felt like they were lifting the ceiling off when we played it at the amazing La Paloma ballroom in Barcelona.
Dan then turns his attention to Torres’ 1977 'Super Son' album, giving the psych-Latin-funk track 'Pastel En Descarga' a dub makeover. Rich in delay and drama, whilst maintaining and extending the breakers funk intro, he juices it up into a punchy, no-nonsense, cosmic-funk delight.
On the B side, Tangent co-founder, long-standing Life Force resident and seasoned rework master, Nick The Record, revisits an edit that he originally constructed in 2009. Clocking in at over double the length of the original cut, Nick’s edit of Grupo Los Yoyi’s 1977 cut 'Paco La Calle', is made with dancers firmly in mind. This secret weapon builds and simmers, with the drums and percussion pushing and pulling before the psychedelic synth lines return in a sweltering fashion. In this new 2025 version, Dan is drafted in to work some brilliant new synth lines into the mix.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Having formed the Idjut Boys in the early ‘90s, Dan and Conrad McDonnell have crafted a dubbed-out, disco-tinged style that permeates their countless productions, remixes and DJ sets. Speaking of the two tracks Dan has chosen to rework for this EP he mentions, “Having been caught under an avalanche of good music from Mr Bongo, I took it upon myself to extend and add effects to a couple of the fantastic tracks from the Juan Pablo Torres LPs they recently re-issued. Just for disco jockey and barn dance use.”
First, Dan looks to Cuban maestro Juan Pablo Torres’ 1978 album 'Algo Nuevo', taking one of the standout tracks ‘Cacao’ and giving it more space to breathe. Teasing out the scatting vocal line and percussive climax that nods to George Kranz's ’83 electronic disco anthem 'Din Daa Daa', whilst adding more cosmic tripped-out synths and space echoed dubs, Dan builds the tension to fine effect. This track sounds immense on a big club system and the swirling synths felt like they were lifting the ceiling off when we played it at the amazing La Paloma ballroom in Barcelona.
Dan then turns his attention to Torres’ 1977 'Super Son' album, giving the psych-Latin-funk track 'Pastel En Descarga' a dub makeover. Rich in delay and drama, whilst maintaining and extending the breakers funk intro, he juices it up into a punchy, no-nonsense, cosmic-funk delight.
On the B side, Tangent co-founder, long-standing Life Force resident and seasoned rework master, Nick The Record, revisits an edit that he originally constructed in 2009. Clocking in at over double the length of the original cut, Nick’s edit of Grupo Los Yoyi’s 1977 cut 'Paco La Calle', is made with dancers firmly in mind. This secret weapon builds and simmers, with the drums and percussion pushing and pulling before the psychedelic synth lines return in a sweltering fashion. In this new 2025 version, Dan is drafted in to work some brilliant new synth lines into the mix.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Mr Bongo
1
Curió Curió - Tô Chegando
2
Curió Curió - Bem Querer
3
Curió Curió - Menina Passarinho
4
Curió Curió - Vem Pra Casa
5
Curió Curió - Raiz
6
Curió Curió - Vida Que Entorna (Interlúdio)
7
Curió Curió - Amor Doente
8
Curió Curió - Mar Sem Dar Pé
9
Curió Curió - Canto De Calma
10
Curió Curió - Amizade
11
Curió Curió - A Cor Do Meu Sonho
Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation.
In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”. A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection.
Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural?
As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves.
Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult.
Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour.
The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”. A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection.
Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural?
As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves.
Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult.
Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour.
The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
As Ganhadeiras de Itapuã - Maré mansa
2
Ubunto - O Vento Part. As Ganhadeiras de Itapuã
3
Castanheiro - Este Samba É Meu
4
Eduardo Araújo - Madrugada
5
Tyaraju & Dutra - Pé De Foguete
6
Tema IV - Tema I
7
Orquesta El Sabor De Nacho - Bim Bim Bom Bom “Que Se Sepa”
8
The Trinikas - Remember Me
9
Tommy McGee - Now That I Have You
10
Trevor Dandy - Is There Any Love
11
Wilfred Luckie - My Thing
12
The Sylvers - Wish That I Could Talk To You (Kenny Dope Edit)
13
K.L. Hamilton - I'm Trying
14
Wil Collins & Willpower - Anything I Can Do
15
Powerline - Watching You (Brand New Remix)
16
Mac Mathunjwa - Give Us More Love (Edit)
17
Tapper Zukie - Visions Of Love
18
Urias - Vontade De Voar
Welcome to Volume 8 of the Mr Bongo Record Club series, our in-house curated compilations that give us a chance to share some of our favourite tracks, hard-fought finds, and unsung gems. These are tracks that have been inspiring us at home, in the office, while DJing, and on the dancefloor.
In the cross-genre spirit of the series, for Volume 8 we have selected music from the worlds of soul, boogie, disco-reggae, jazz-funk, and Latin, with a hefty chunk of beloved Brazilian music. Pulling these compilations together is always a highlight of our year, and eight volumes in, we feel this is one of our strongest to date.
The album’s journey begins with a heartfelt epic by As Ganhadeiras de Itapuã, from the Bahian town of Itapuã. It’s an area of Brazil that holds a special place in David ‘Mr Bongo’ Buttle’s heart, and where he first met our dear friend, Luciano Rodrigues Dos Santos, to whose memory this compilation is dedicated to.
Staying in Northern Brazil, next up is a contemporary dancefloor gem by Ubunto, a DJ and producer from Salvador, which also features As Ganhadeiras de Itapuã. The raw, dusty, punchy sounds of zabumba drummer Castanheiro and the furious guitar-heavy dancer by Tyaraju & Dutra are just two more examples of the Brazilian beauties included on the compilation.
There is also a heavy dose of soul music on this volume. The Canadian-gospel sounds of Trevor Dandy, a modern-soul rarity by Wil Collins & Willpower (which has been on our list for years), and a soul-stepper masterpiece by Tommy McGee, are just a handful of the highlights. Not stopping there, we are incredibly proud to present an exclusive rework of The Sylvers' ‘Wish That I Could Talk To You’ by the legendary Kenny Dope. Kenny has excelled himself with this one, fattening up the drums while bringing more drama to the horns and strings. The song now feels more contemporary yet still stays true to its roots. Complete genius!
Elsewhere on the compilation, you’ll find a cosmic reggae-not-reggae disco oddity by Tapper Zukie, a South African jazz-funk-disco groover by Mac Mathunjwa, a sought-after Brazilian compacto by Eduardo Araújo, and a Brit-funk / boogie treasure by Powerline.
Traversing time, genre, and location, all the tracks on Volume 8 are favourites for their own unique reasons. Music will forever be a constant source of comfort, able to affect you deeply in the most meaningful ways. It’s the gift that keeps giving, and there is so much more to learn, discover, and share, both old and new.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
In the cross-genre spirit of the series, for Volume 8 we have selected music from the worlds of soul, boogie, disco-reggae, jazz-funk, and Latin, with a hefty chunk of beloved Brazilian music. Pulling these compilations together is always a highlight of our year, and eight volumes in, we feel this is one of our strongest to date.
The album’s journey begins with a heartfelt epic by As Ganhadeiras de Itapuã, from the Bahian town of Itapuã. It’s an area of Brazil that holds a special place in David ‘Mr Bongo’ Buttle’s heart, and where he first met our dear friend, Luciano Rodrigues Dos Santos, to whose memory this compilation is dedicated to.
Staying in Northern Brazil, next up is a contemporary dancefloor gem by Ubunto, a DJ and producer from Salvador, which also features As Ganhadeiras de Itapuã. The raw, dusty, punchy sounds of zabumba drummer Castanheiro and the furious guitar-heavy dancer by Tyaraju & Dutra are just two more examples of the Brazilian beauties included on the compilation.
There is also a heavy dose of soul music on this volume. The Canadian-gospel sounds of Trevor Dandy, a modern-soul rarity by Wil Collins & Willpower (which has been on our list for years), and a soul-stepper masterpiece by Tommy McGee, are just a handful of the highlights. Not stopping there, we are incredibly proud to present an exclusive rework of The Sylvers' ‘Wish That I Could Talk To You’ by the legendary Kenny Dope. Kenny has excelled himself with this one, fattening up the drums while bringing more drama to the horns and strings. The song now feels more contemporary yet still stays true to its roots. Complete genius!
Elsewhere on the compilation, you’ll find a cosmic reggae-not-reggae disco oddity by Tapper Zukie, a South African jazz-funk-disco groover by Mac Mathunjwa, a sought-after Brazilian compacto by Eduardo Araújo, and a Brit-funk / boogie treasure by Powerline.
Traversing time, genre, and location, all the tracks on Volume 8 are favourites for their own unique reasons. Music will forever be a constant source of comfort, able to affect you deeply in the most meaningful ways. It’s the gift that keeps giving, and there is so much more to learn, discover, and share, both old and new.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Ella Thompson - Promise To Keep
2
Ella Thompson - Change Of Heart
Mr Bongo are thrilled to have one of the leading lights in contemporary soul joining the label. Melbourne-based vocalist, musician, and songwriter Ella Thompson is an artist whose name is being championed by some of the best in the business. She’s been building a reputation as one to watch, with two standout releases on Hopestreet Recordings, Domino EP in 2023 and Ripple On The Wing LP in 2024, alongside a heavy touring schedule and a stacked list of support slots and collaborations.
For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.
Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.
‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.
The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.
Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise To Keep’ and ‘Change Of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.
Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.
‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.
The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.
Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise To Keep’ and ‘Change Of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Reality - Reality
2
Reality - Road
3
Reality - Disco Party (Let's Have A)
4
Reality - Welcome
5
Reality - Movin' & Groovin'
6
Reality - Let's Party People
7
Reality - You Keep Me Holdin' On
8
Reality - Clap & Hustle
Mr Bongo presents a reissue of one of the rarest releases on the illustrious and now ultra-rare tax scam label TSG Records. A label with a checkered past, operated by Lloyd Price and with alleged ties to boxing promoter Don King. The album in question, Disco Party by Reality, is a stunning journey through ‘70s dancefloor-focussed funk into early proto-disco grooves.
Back in mid-‘70s Manhattan, Dr. Otto Gomez and a group of fellow New York musicians including Tony Dixon, Norman Drayton, Tony Dupree, Al Jones and Fred Nanton were brought in for a recording session by songwriter and producer, Billy Nichols. Laying down one of Nichols' songs and a selection of the group's own, they were paid as session musicians and thought little of it. The tapes came to the attention of Lloyd Price who struck a deal with Nichols unbeknownst to Gomez and the rest of the band.
Price then pressed the album and put it out in 1976 on a newly formed subsidiary label, TSG Records, that would later be documented as one of the US tax scam labels of the ‘70s. Such labels were created to exploit a loophole in the US tax system, running up inflated production costs / losses that investors or the parent label could write off against their tax bills. Releases on these labels were never intended to have commercial success. They would usually be produced in incredibly limited pressing numbers and have little to no promotion or distribution.
As such many of these records instantly fell into obscurity, becoming mythical amongst DJs and record collectors. Sadly, this meant that artists like Dr. Otto Gomez and friends never had the chance for their record and their talents to shine at the time. In fact, it was only when Jazzman reached out for their 2022 reissue that Dr. Otto Gomez became aware that the album had ever been released and heard the story behind it.
Disco Party is a time capsule where ‘70s instrumental funk edges and intertwines into an early disco sound. The sessions are for the dancefloor, minimalist and groove-based. The bass and drums are at the forefront, providing the pulse of the album. Driving funky guitar licks, and a brilliant horn section weave their way in and out of the productions. Highlights include the uplifting feel-good ‘Let's Party People’, the early disco swagger of ‘Reality’, and ‘Disco Party (Let's Have A)’ with its wah-wah groove and percussion break, which could easily have found its home on a Blaxploitation film soundtrack of the period.
It’s not just rarity that makes this record so sought after, but rather the fact that it is a superb example of dancefloor-focussed mid ‘70s funk and disco.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Back in mid-‘70s Manhattan, Dr. Otto Gomez and a group of fellow New York musicians including Tony Dixon, Norman Drayton, Tony Dupree, Al Jones and Fred Nanton were brought in for a recording session by songwriter and producer, Billy Nichols. Laying down one of Nichols' songs and a selection of the group's own, they were paid as session musicians and thought little of it. The tapes came to the attention of Lloyd Price who struck a deal with Nichols unbeknownst to Gomez and the rest of the band.
Price then pressed the album and put it out in 1976 on a newly formed subsidiary label, TSG Records, that would later be documented as one of the US tax scam labels of the ‘70s. Such labels were created to exploit a loophole in the US tax system, running up inflated production costs / losses that investors or the parent label could write off against their tax bills. Releases on these labels were never intended to have commercial success. They would usually be produced in incredibly limited pressing numbers and have little to no promotion or distribution.
As such many of these records instantly fell into obscurity, becoming mythical amongst DJs and record collectors. Sadly, this meant that artists like Dr. Otto Gomez and friends never had the chance for their record and their talents to shine at the time. In fact, it was only when Jazzman reached out for their 2022 reissue that Dr. Otto Gomez became aware that the album had ever been released and heard the story behind it.
Disco Party is a time capsule where ‘70s instrumental funk edges and intertwines into an early disco sound. The sessions are for the dancefloor, minimalist and groove-based. The bass and drums are at the forefront, providing the pulse of the album. Driving funky guitar licks, and a brilliant horn section weave their way in and out of the productions. Highlights include the uplifting feel-good ‘Let's Party People’, the early disco swagger of ‘Reality’, and ‘Disco Party (Let's Have A)’ with its wah-wah groove and percussion break, which could easily have found its home on a Blaxploitation film soundtrack of the period.
It’s not just rarity that makes this record so sought after, but rather the fact that it is a superb example of dancefloor-focussed mid ‘70s funk and disco.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Curió Curió - Bem Querer
2
Curió Curió - Amor Doente
Floating into our inbox on the East winds came a mysterious bunch of tracks by a mesmerising new act called Curió Curió, which we simply couldn’t ignore. Named after a vibrant Brazilian songbird, Curió Curió consists of singer, lyricist, and actress Luiza Monteiro, based in Austria, and producer and musician Dustin Braun from Germany. Together, the duo brings a fresh voice and a twist on MPB, taking influences from 1970s Brazil and blending them into a modern fusion of psychedelic, MPB, disco, and samba.
Curió Curió’s vocalist, Luiza Monteiro, was born in Rio de Janeiro, Brazil, and raised listening to the rich sounds of MPB. She started taking classical singing lessons weekly by the age of 14, and later developed a career in acting, skills of which she brings with her into her songwriting. You may be familiar with Dustin’s production through his recent collaborations with the Turkish artist Peki Mome´s on Mocambo Records, or by his earlier incarnations, including a neo-soul release on Sichtexot and projects with Village Live Records and HHV's record label. His music has a tangible analogue warmth and a feeling of a real band performing live.
For this 7-inch release, ‘Bem Querer’ (‘Beloved’ in English) takes the A side. In it, Luiza calls a missed love to come close and dance with her. Even without an understanding of Portuguese, this feeling and energy radiates throughout the production; one of partying together, loving each other, living in ecstasy, feeling pleasure, and freedom. Built on an authentic samba street vibe with a super catchy sing-along chorus, that collective, carnival energy comes in part due to the choir that Dustin and Luiza assembled. A group of Brazilian friends, some of whom Dustin met whilst DJing in Leipzig, joined together in the studio. Half of them were non-professional singers, bringing that organic atmosphere of Rio’s streets to the recording.
The B-side ‘Amor Doente’ has a more bitter-sweet taste; the song speaks playfully about a relationship that goes on without really developing. Both parties cannot fully commit to each other, but they are also unable to end it. The production, however, has a delicious loose funk groove, sun-soaked and sultry. Dustin wrote the instrumental with Lucy Liebe, who joins on bass, guitar, synths, and trumpet, with Max Löbner also featuring on trumpet. A track that is equally adept at warming up a dancefloor as it is closing out a night.
We were genuinely blown away by the vibrancy and joy of this new project when we first heard it, instantly feeling like a familiar friend. In the band's own words, “Curió Curió is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic".
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Curió Curió’s vocalist, Luiza Monteiro, was born in Rio de Janeiro, Brazil, and raised listening to the rich sounds of MPB. She started taking classical singing lessons weekly by the age of 14, and later developed a career in acting, skills of which she brings with her into her songwriting. You may be familiar with Dustin’s production through his recent collaborations with the Turkish artist Peki Mome´s on Mocambo Records, or by his earlier incarnations, including a neo-soul release on Sichtexot and projects with Village Live Records and HHV's record label. His music has a tangible analogue warmth and a feeling of a real band performing live.
For this 7-inch release, ‘Bem Querer’ (‘Beloved’ in English) takes the A side. In it, Luiza calls a missed love to come close and dance with her. Even without an understanding of Portuguese, this feeling and energy radiates throughout the production; one of partying together, loving each other, living in ecstasy, feeling pleasure, and freedom. Built on an authentic samba street vibe with a super catchy sing-along chorus, that collective, carnival energy comes in part due to the choir that Dustin and Luiza assembled. A group of Brazilian friends, some of whom Dustin met whilst DJing in Leipzig, joined together in the studio. Half of them were non-professional singers, bringing that organic atmosphere of Rio’s streets to the recording.
The B-side ‘Amor Doente’ has a more bitter-sweet taste; the song speaks playfully about a relationship that goes on without really developing. Both parties cannot fully commit to each other, but they are also unable to end it. The production, however, has a delicious loose funk groove, sun-soaked and sultry. Dustin wrote the instrumental with Lucy Liebe, who joins on bass, guitar, synths, and trumpet, with Max Löbner also featuring on trumpet. A track that is equally adept at warming up a dancefloor as it is closing out a night.
We were genuinely blown away by the vibrancy and joy of this new project when we first heard it, instantly feeling like a familiar friend. In the band's own words, “Curió Curió is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic".
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1
Myrna Summers - So Much to Live For (Sadar Bahar & Marc Davis Edit)
2
The Yancy Family - Lifted Me Higher (Sadar Bahar & Marc Davis Edit)
Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.
Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.
Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.
As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”
Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.
The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.
Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.
As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”
Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.
The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Harris & Orr - Spread Love
2
Terry And Deep South - Trying To Get By
3
Toshiyuki Honda - Burnin' Waves
4
Igna Igwebuike - Disco Bomp
5
Janette Renee - What's On Your Mind (Super Club Remix)
6
Grupo Serenata - Sodade, Tem Pena D’Mim
7
Vital Disorders - Zombie
8
Alphonsus Idigo - Flight 505
9
DJ Food - Peace (Harvey's 30 Something Mix)
10
Man Jumping - In The Jungle
11
Stars - Dancin’ People
12
Gaucho - Dance Forever (Club Version)
13
49th Floor - Night Passage (Bongo Mix)
14
Orion Agassi - Desacato
15
Fatdog - Remember (Ft. CJ Raine)
With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe.
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”.
But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe.
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”.
But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Ricardo Eddy Martínez - Expreso Rítmico
2
Ricardo Eddy Martínez - Tambo Iya
3
Ricardo Eddy Martínez - Yeya Son
4
Ricardo Eddy Martínez - Te Quedas
5
Ricardo Eddy Martínez - Que La Tristeza Se Fue
6
Ricardo Eddy Martínez - Mi Conga Es La Que Es
7
Ricardo Eddy Martínez - Mas No Me Falta Fe
8
Ricardo Eddy Martínez - La 132
9
Ricardo Eddy Martínez - Este Tumbao
10
Ricardo Eddy Martínez - De Mis Razones
Next up in our Cuban Classics series, one of the jewels of record label Areito’s extensive and sought-after catalogue. Ricardo Eddy Martinez’s Expreso Ritmico from 1978 is a prized album fusing funk, disco, and orchestrated influences with Afro-Cuban percussion, Latin breaks, and lush vocal harmonies.
Whilst maintaining its distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, José Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US.
Produced by Adolfo Pichardo, who worked on much of Areito’s output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. ‘Que La Tristeza Se Fue’ was expertly sampled and looped by Jazzanova on their 2008 song ‘Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, ‘Tambo Iya’ has an Afro-funk, Soul Makossa-esque groove, while tracks such as ‘Te Quedas’, ‘Mi Conga Es La Que Es’ and ‘La 132’ run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of ‘Este Tumbao’ for a spacey journey that blends and morphs through genres.
A record that was ahead of its time, Expreso Ritmico is a superb and unique album that merges western influence with Cuban flair. It comes housed in a replica of its original Cuban sleeve design.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Whilst maintaining its distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, José Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US.
Produced by Adolfo Pichardo, who worked on much of Areito’s output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. ‘Que La Tristeza Se Fue’ was expertly sampled and looped by Jazzanova on their 2008 song ‘Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, ‘Tambo Iya’ has an Afro-funk, Soul Makossa-esque groove, while tracks such as ‘Te Quedas’, ‘Mi Conga Es La Que Es’ and ‘La 132’ run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of ‘Este Tumbao’ for a spacey journey that blends and morphs through genres.
A record that was ahead of its time, Expreso Ritmico is a superb and unique album that merges western influence with Cuban flair. It comes housed in a replica of its original Cuban sleeve design.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Jorun Bombay - Wild Style Megamix Part 1
2
Jorun Bombay - Wild Style Megamix Part 2
In celebration of Arrow Films' new 4K restoration of the seminal hip hop film Wild Style, Azorean-Canadian producer and DJ Jorun Bombay steps up with a specially commissioned megamix cut across two sides of a 7”. Featuring recently discovered unreleased material, cut up with sections of the remastered soundtrack, expert turntablism, and added live instrumentation, Jorun shines a new light on this pioneering piece of hip hop history.
Having released music since the mid-‘80s on labels such as Soundweight, Diggers With Gratitude, and JBOR Records, Jorun also produces and scores music for film and television in the USA. He’s been hosting his influential DJ podcast ‘Funkbox Reload’ for over a decade, regularly showcasing his DJ and remixing skills, which have landed him several key production jobs, including for the documentary ‘Mixtape’ directed by Omar Acosta on Paramount Plus.
It's through ‘Funkbox Reload’ that Arrow Films became aware of Jorun’s talents. They reached out and suggested Jorun put together a megamix, giving him access to the masters and unreleased material.
Given the opportunity to remix such an iconic slice of hip hop’s heritage, Jorun has treated the project with the care and respect it warranted. As he states, “Seeing Wild Style in the 1980s was a life changer simply for the fact that it introduced the world to an art form that most people outside of New York didn't know existed or could exist. This culture was called ‘hip hop’, and it was the first time a form of music was made out of everything surrounding it and turned into a collage. Wild Style was the first of its kind, probably in the history of American music.”
The film served as a gateway to hip hop culture and the elements it was made up of, be it rapping, DJing, breakdancing, or graffiti writing, and watching it, whether at the cinema, on rental VHS, or a bootleg copy from a friend, was a truly inspirational moment for many. One of the most important scenes for future DJs, as outlined by Jorun and DJs including the UK’s Mr Thing, is the kitchen scene and DJ routine featuring Grandmaster Flash. As Jorun mentions, “the scene with Grandmaster Flash in the kitchen was the epitome of what the culture stood for and where it was about to go from 1983 onward - home studios. It made the goal achievable thanks to that scene influencing so many kids at the time.”
More than a simple DJ megamix, Jorun hasn’t limited himself to the use of just two turntables. Instead, he has added live instrumentation, such as bass, Rhodes, and conga hits to the ‘basketball rap’, “to give it more of a blaxploitation ‘rumble in the street’ mood”, alongside using the unreleased material to masterful effect. “I don't like to be strictly tied to just turntablism. There are no rules when making music”, he reflects. Using the same ethos of freedom and individual musical expression of the time, Jorun has delivered a respectful, authentic, and inspired homage to the legacy of the film and its soundtrack.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
Having released music since the mid-‘80s on labels such as Soundweight, Diggers With Gratitude, and JBOR Records, Jorun also produces and scores music for film and television in the USA. He’s been hosting his influential DJ podcast ‘Funkbox Reload’ for over a decade, regularly showcasing his DJ and remixing skills, which have landed him several key production jobs, including for the documentary ‘Mixtape’ directed by Omar Acosta on Paramount Plus.
It's through ‘Funkbox Reload’ that Arrow Films became aware of Jorun’s talents. They reached out and suggested Jorun put together a megamix, giving him access to the masters and unreleased material.
Given the opportunity to remix such an iconic slice of hip hop’s heritage, Jorun has treated the project with the care and respect it warranted. As he states, “Seeing Wild Style in the 1980s was a life changer simply for the fact that it introduced the world to an art form that most people outside of New York didn't know existed or could exist. This culture was called ‘hip hop’, and it was the first time a form of music was made out of everything surrounding it and turned into a collage. Wild Style was the first of its kind, probably in the history of American music.”
The film served as a gateway to hip hop culture and the elements it was made up of, be it rapping, DJing, breakdancing, or graffiti writing, and watching it, whether at the cinema, on rental VHS, or a bootleg copy from a friend, was a truly inspirational moment for many. One of the most important scenes for future DJs, as outlined by Jorun and DJs including the UK’s Mr Thing, is the kitchen scene and DJ routine featuring Grandmaster Flash. As Jorun mentions, “the scene with Grandmaster Flash in the kitchen was the epitome of what the culture stood for and where it was about to go from 1983 onward - home studios. It made the goal achievable thanks to that scene influencing so many kids at the time.”
More than a simple DJ megamix, Jorun hasn’t limited himself to the use of just two turntables. Instead, he has added live instrumentation, such as bass, Rhodes, and conga hits to the ‘basketball rap’, “to give it more of a blaxploitation ‘rumble in the street’ mood”, alongside using the unreleased material to masterful effect. “I don't like to be strictly tied to just turntablism. There are no rules when making music”, he reflects. Using the same ethos of freedom and individual musical expression of the time, Jorun has delivered a respectful, authentic, and inspired homage to the legacy of the film and its soundtrack.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Germany
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1
P.J. City - Straight Forward (Non-Stop) (DJ Nature Re-Edit)
2
Grupo Los Yoyi - Del Copacabana A 34 (DJ Nature Re-Edit)
3
Antoniou - Sound On Sound (DJ Nature Re-Edit)
4
Marxist Love Disco Ensemble - Dust (DJ Nature Re-Edit)
Stepping up next in our Mr Bongo 12” Edits series, we’ve invited another legend of the game, DJ Nature, to craft a special EP of signature edits. Following editions by Dan Tyler and Nick The Record, Luke Una, and Danny Krivit, DJ Nature selects four prime cuts spanning modern soul, psychedelic funk, boogie, and leftfield disco, giving each his trademark tweak for today’s dancefloor.
In 1989, Bristol-born DJ Nature moved to New York, a city where he knew his raw and textured aesthetic would be more appreciated at the time. He immersed himself in the NY scene, frequently attending underground house and disco clubs to hear pioneers such as Larry Levan (The Choice), Louie Vega (Sound Factory Bar), and Tony Humphries (Zanzibar). That same year, being surrounded by a wealth of underground dance music, DJ Nature set up an export company to supply the Japanese market. “I have had a connection with Japan for over 40 years, beginning when I visited as part of Ray Petri’s Buffalo fashion house as a DJ. From there, I linked up with the Major Force crew and others,” he explains.
Having already been a record collector for 20 years, DJ Nature launched his own label, Ruff Disco Records, in 1992, releasing productions under his early moniker, Natureboy. Since then, Nature has gone on to become an underground DJ/producer legend himself, touring the world and releasing records on esteemed labels such as Golf Channel Recordings, Jazzy Sport, Hot Biscuit Recordings, and Futureboogie Recordings.
Reflecting his love of raw, independent disco, jazz fusion, and early house music, DJ Nature has chosen four tracks from the Mr Bongo archive that he felt had club-ready production ripe for an edit. First up, is an extended rework of the ultra-rare Chicago modern soul/disco joint ‘Straight Forward (Non-Stop)’ by P.J. City from 1986. Staying true and respectful to the original, DJ Nature tweaks and extends it so it feels like a longer take lifted from the original recording session. Next is a sublime version of Cuban band Grupo Los Yoyi’s 1977 track ‘Del Copacabana A 34’. Here, Nature extends and enhances the song, looping the more driving, hypnotic, spacey sections to let the energy brew and bubble to boiling point.
On the B-side, DJ Nature revamps a lesser-known gem from the Elite Records catalogue. Originally produced by Andy Sojka, Antoniou’s pulsating 1982 electronic disco groover ‘Sound On Sound’ is transformed into a peak-time cosmic boogie whirlwind. Rounding off the EP, he turns to the mysterious Marxist Love Disco Ensemble’s 2022 album ‘MLDE’, re-editing the quirky leftfield disco winner ‘Dust’ into a more DJ-friendly club track.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
In 1989, Bristol-born DJ Nature moved to New York, a city where he knew his raw and textured aesthetic would be more appreciated at the time. He immersed himself in the NY scene, frequently attending underground house and disco clubs to hear pioneers such as Larry Levan (The Choice), Louie Vega (Sound Factory Bar), and Tony Humphries (Zanzibar). That same year, being surrounded by a wealth of underground dance music, DJ Nature set up an export company to supply the Japanese market. “I have had a connection with Japan for over 40 years, beginning when I visited as part of Ray Petri’s Buffalo fashion house as a DJ. From there, I linked up with the Major Force crew and others,” he explains.
Having already been a record collector for 20 years, DJ Nature launched his own label, Ruff Disco Records, in 1992, releasing productions under his early moniker, Natureboy. Since then, Nature has gone on to become an underground DJ/producer legend himself, touring the world and releasing records on esteemed labels such as Golf Channel Recordings, Jazzy Sport, Hot Biscuit Recordings, and Futureboogie Recordings.
Reflecting his love of raw, independent disco, jazz fusion, and early house music, DJ Nature has chosen four tracks from the Mr Bongo archive that he felt had club-ready production ripe for an edit. First up, is an extended rework of the ultra-rare Chicago modern soul/disco joint ‘Straight Forward (Non-Stop)’ by P.J. City from 1986. Staying true and respectful to the original, DJ Nature tweaks and extends it so it feels like a longer take lifted from the original recording session. Next is a sublime version of Cuban band Grupo Los Yoyi’s 1977 track ‘Del Copacabana A 34’. Here, Nature extends and enhances the song, looping the more driving, hypnotic, spacey sections to let the energy brew and bubble to boiling point.
On the B-side, DJ Nature revamps a lesser-known gem from the Elite Records catalogue. Originally produced by Andy Sojka, Antoniou’s pulsating 1982 electronic disco groover ‘Sound On Sound’ is transformed into a peak-time cosmic boogie whirlwind. Rounding off the EP, he turns to the mysterious Marxist Love Disco Ensemble’s 2022 album ‘MLDE’, re-editing the quirky leftfield disco winner ‘Dust’ into a more DJ-friendly club track.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
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Germany
Contact: [email protected]More
1
Hollie Cook - Milk And Honey
2
Hollie Cook - That Very Night
3
Hollie Cook - Walking In The Sand
4
Hollie Cook - Cry (Disco Mix) Ft. Horseman
5
Hollie Cook - It's So Different Here
6
Hollie Cook - Sugar Water (Look At My Face) Ft. Horseman
7
Hollie Cook - Shadow Kissing
8
Hollie Cook - Used To be
9
Hollie Cook - Body Beat Ft. Horseman
Mr Bongo present a yellow vinyl repress of Hollie’s sensational, self-titled 2011 debut album. 14 years on, this timeless debut produced by Prince Fatty fuses Hollie's self-coined ‘tropical pop’ sound with her passion for reggae and lovers rock singers such as Janet Kay and Phyllis Dillon and classic '60s girl groups.
An album that radiates with highlights, it features what would become one of Hollie’s most popular songs, the super catchy, sun-soaked ‘Milk & Honey’ that has racked up over 46 million streams on Spotify alone. Elsewhere, there are distinctive reggae cover versions of the Shangri-Las ‘(Remember) Walkin’ In The Sand’, transformed from a dark, emotive cut into one filled with a flavour of hope, alongside a signature new spin on Rachel Sweet’s amazing, laidback ‘It's So Different Here’. Take to the bass-heavy ‘Sugar Water (Look At My Face)’ for a dub-leaning workout and look to the singles ‘That Very Night’ and ‘Body Beat’ to further feel the synergy between Hollie and Prince Fatty, showcasing songs that are inspired and influenced by the past but with a definitive foot in the present.
Adding further weight to this iconic debut, there are a talented array of musicians featuring across the record, including Omar, Dennis Bovell, George Decker (The Pioneers), Horseman, Style Scott, Black Steel, Mutant Hi-Fi and more. Along with Prince Fatty at the controls and Hollie on the mic, together they crafted a classic sound that feels as fresh (but also as vintage) as it did fourteen years ago. A modern masterpiece in its genre, and the start of Hollie’s journey to becoming the contemporary queen of the lovers rock sound.
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WAS - Word and Sound Medien GmbH
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An album that radiates with highlights, it features what would become one of Hollie’s most popular songs, the super catchy, sun-soaked ‘Milk & Honey’ that has racked up over 46 million streams on Spotify alone. Elsewhere, there are distinctive reggae cover versions of the Shangri-Las ‘(Remember) Walkin’ In The Sand’, transformed from a dark, emotive cut into one filled with a flavour of hope, alongside a signature new spin on Rachel Sweet’s amazing, laidback ‘It's So Different Here’. Take to the bass-heavy ‘Sugar Water (Look At My Face)’ for a dub-leaning workout and look to the singles ‘That Very Night’ and ‘Body Beat’ to further feel the synergy between Hollie and Prince Fatty, showcasing songs that are inspired and influenced by the past but with a definitive foot in the present.
Adding further weight to this iconic debut, there are a talented array of musicians featuring across the record, including Omar, Dennis Bovell, George Decker (The Pioneers), Horseman, Style Scott, Black Steel, Mutant Hi-Fi and more. Along with Prince Fatty at the controls and Hollie on the mic, together they crafted a classic sound that feels as fresh (but also as vintage) as it did fourteen years ago. A modern masterpiece in its genre, and the start of Hollie’s journey to becoming the contemporary queen of the lovers rock sound.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Ana Frango Elétrico - A Sua Diversão
2
Ana Frango Elétrico - Não Tem Nada Não
A year and a half after the release of their Latin Grammy-nominated album, Me Chama De Gato Que Eu Sou Sua, the award-winning Brazilian trailblazer, Ana Frango Elétrico, returns with two new songs: ‘A Sua Diversão’ and ‘Não Tem Nada Não’. Both tracks are the result of a remarkable collaboration with legendary Brazilian artist Marcos Valle, creating a dialogue between generations. The 7” single will be released in partnership by the labels RISCO, Mr Bongo and Psychic Hotline.
First up, Ana drops the laid-back sultry Brazilian-funk gem 'A Sua Diversão', written alongside Tuca Monteiro and co-produced by Guilherme Lirio. With a breezy ‘80s tinged feel, the sumptuous bassline, funk strutting guitars and cosmic synths are the perfect match to Ana’s instantly recognisable vocal tones. A track with a nostalgic air but a contemporary flair, it includes guest backing vocals by three of Brazil’s finest, Dora Morelenbaum, Marcos Valle, and Patrícia Alví.
Next, a firm favourite from their live show, Ana reinterprets and re-records a 1973 Marcos Valle classic 'Não Tem Nada Não', written collaboratively with Eumir Deodato and João Donato. During Ana’s tour across 11 countries and over 40 sold-out shows, this cover quickly became a fan favourite. As audiences began tagging Valle in Instagram stories, he showed his support by reposting Ana’s performances. This online exchange blossomed into a real-life connection when the two artists met at a benefit concert for Rio Grande do Sul and the idea of a collaboration materialised.
Putting their own distinctive spin on the recording, Ana duets with Valle, who features on vocals and Rhodes. As the track progresses it morphs seamlessly into a reimagination of Crystal Water's anthemic 'Gypsy Woman (She's Homeless)' from 1991. This inspired yet unlikely combination blends exquisitely and is a perfect distillation of Ana’s energetic and absorbing live presence.
“Não Tem Nada Não” was part of every show we did from the album tour. I wanted to capture that moment, that snapshot of the show and the band. It’s a record of that time and of the relationships that deepened through sharing it all. We recorded the same arrangement we play live—only now, with the honour of having my idol Marcos Valle join in.
These are definitely songs that don’t point the way, but rather close a cycle. They reflect research based on live performances, on the Me Chama De Gato Que Eu Sou Sua shows, which will be celebrating their farewell in Brazil this year” Ana explains.
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First up, Ana drops the laid-back sultry Brazilian-funk gem 'A Sua Diversão', written alongside Tuca Monteiro and co-produced by Guilherme Lirio. With a breezy ‘80s tinged feel, the sumptuous bassline, funk strutting guitars and cosmic synths are the perfect match to Ana’s instantly recognisable vocal tones. A track with a nostalgic air but a contemporary flair, it includes guest backing vocals by three of Brazil’s finest, Dora Morelenbaum, Marcos Valle, and Patrícia Alví.
Next, a firm favourite from their live show, Ana reinterprets and re-records a 1973 Marcos Valle classic 'Não Tem Nada Não', written collaboratively with Eumir Deodato and João Donato. During Ana’s tour across 11 countries and over 40 sold-out shows, this cover quickly became a fan favourite. As audiences began tagging Valle in Instagram stories, he showed his support by reposting Ana’s performances. This online exchange blossomed into a real-life connection when the two artists met at a benefit concert for Rio Grande do Sul and the idea of a collaboration materialised.
Putting their own distinctive spin on the recording, Ana duets with Valle, who features on vocals and Rhodes. As the track progresses it morphs seamlessly into a reimagination of Crystal Water's anthemic 'Gypsy Woman (She's Homeless)' from 1991. This inspired yet unlikely combination blends exquisitely and is a perfect distillation of Ana’s energetic and absorbing live presence.
“Não Tem Nada Não” was part of every show we did from the album tour. I wanted to capture that moment, that snapshot of the show and the band. It’s a record of that time and of the relationships that deepened through sharing it all. We recorded the same arrangement we play live—only now, with the honour of having my idol Marcos Valle join in.
These are definitely songs that don’t point the way, but rather close a cycle. They reflect research based on live performances, on the Me Chama De Gato Que Eu Sou Sua shows, which will be celebrating their farewell in Brazil this year” Ana explains.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Hollie Cook - Ari Up
2
Hollie Cook - 99
3
Hollie Cook - Desdemona
4
Hollie Cook - Tiger Balm
5
Hollie Cook - Postman
6
Hollie Cook - Looking For Real Love
7
Hollie Cook - Superfast
8
Hollie Cook - Twice
9
Hollie Cook - Win Or Lose
Hollie Cook’s sensational second album, Twice, originally released in 2014, gets a 2025 repress on transparent green vinyl.
Produced by Prince Fatty, Twice is a natural progression from Hollie’s self-titled debut. It’s an absorbing blend of her trademark reggae and tropical pop sound, enriched with the dubby undertones of Prince Fatty’s production. Drawing on a broad range of influences, there’s sweeping string arrangements courtesy of the Macedonian Radio Symphonic Orchestra and choir, Brazilian-influenced percussion, and disco touches. At various points across the album, Hollie is joined by legendary musicians Dennis Bovell, Omar, George Dekker, and Winston Francis.
Twice is packed with highlights, showcasing a sophisticated evolution in Hollie’s sound. The cinematic strings of the Macedonian Radio Symphonic Orchestra lace through and lift tracks such as the rolling ‘Desdemona’, the rootsy ‘Postman’ with its bumping bassline and Caribbean steel drum melodies, and the hazy, digi-dub-influenced title track. Elsewhere, the dreamy yet melancholic ‘Looking For Real Love’ sees Hollie’s soulful vocals shine atop a blend of lovers rock and dub energy, whilst ‘Superfast’ has the air of a vintage reggae classic.
A unique and individual contemporary classic from reggae’s orator of love, Hollie Cook, ripe to be rediscovered by a new audience.
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DE - 22113 Hamburg
Germany
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Produced by Prince Fatty, Twice is a natural progression from Hollie’s self-titled debut. It’s an absorbing blend of her trademark reggae and tropical pop sound, enriched with the dubby undertones of Prince Fatty’s production. Drawing on a broad range of influences, there’s sweeping string arrangements courtesy of the Macedonian Radio Symphonic Orchestra and choir, Brazilian-influenced percussion, and disco touches. At various points across the album, Hollie is joined by legendary musicians Dennis Bovell, Omar, George Dekker, and Winston Francis.
Twice is packed with highlights, showcasing a sophisticated evolution in Hollie’s sound. The cinematic strings of the Macedonian Radio Symphonic Orchestra lace through and lift tracks such as the rolling ‘Desdemona’, the rootsy ‘Postman’ with its bumping bassline and Caribbean steel drum melodies, and the hazy, digi-dub-influenced title track. Elsewhere, the dreamy yet melancholic ‘Looking For Real Love’ sees Hollie’s soulful vocals shine atop a blend of lovers rock and dub energy, whilst ‘Superfast’ has the air of a vintage reggae classic.
A unique and individual contemporary classic from reggae’s orator of love, Hollie Cook, ripe to be rediscovered by a new audience.
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DE - 22113 Hamburg
Germany
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1
Hollie Cook - Shadow Dub
2
Hollie Cook - Used To Be Dub
3
Hollie Cook - That Very Night Dub
4
Hollie Cook - And The Beat Goes On Dub
5
Hollie Cook - Crying Dub
6
Hollie Cook - For Me You Are Dub
7
Hollie Cook - Milk & Honey Dub
8
Hollie Cook - Baby Dub
9
Hollie Cook - Walking In The Sand Dub
10
Hollie Cook - Sugarwater Dub
Black Vinyl Repress coming soon!
In 2012, Prince Fatty produced a signature dub reworking of tracks from Hollie Cook’s debut 2012 LP, plus a selection of other choice dub-infused covers. Mr Bongo now presents a fresh repress on blue vinyl of this classic album.
In the tradition of vintage reggae albums, renowned producer Prince Fatty took to the controls and dubbed out Hollie Cook's self-titled debut album from 2011. In trademark dub fashion, Prince Fatty strips back Hollie’s classic reggae and tropical pop productions, adding in extra bass alongside delays, tape echoes, and reverbs to Hollie’s captivating vocals. The resulting versions give the songs space to breathe, whilst adding in a weighty, heads-down element to the productions.
As Prince Fatty mentions, “The dub versions showcase real tape echoes, heavy spring reverbs and alternate instrumental elements such as melodica, percussion or horns that were hidden in the vocal versions. All the dubs are mixed live in my studio in the same Rub a Dub style as was made famous in ‘70s Jamaica by King Tubby and others, i.e, not with the use of computers for automation and endless digital nonsense but with fingers, late night vibes and re-arranged with a razor blade!”.
In addition to the tracks featured from the debut album, this dub release features mixes of Hollie Cook and Prince Fatty’s cover version of The Whispers’ disco classic ‘And The Beat Goes On’ and ‘For Me You Are Dub’, a ska cover of an old Andrews Sisters’ classic. Alongside that, there’s a delicious adaptation of the Shangri-Las’ legendary record ‘Walking in the Sand’, and ‘Baby’, a revamp of the heavily requested anthem, in collaboration with French synth-pop outfit, The Shoes.
Thirteen years on, this superb dub album sounds as quintessential and authentic as ever.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
In 2012, Prince Fatty produced a signature dub reworking of tracks from Hollie Cook’s debut 2012 LP, plus a selection of other choice dub-infused covers. Mr Bongo now presents a fresh repress on blue vinyl of this classic album.
In the tradition of vintage reggae albums, renowned producer Prince Fatty took to the controls and dubbed out Hollie Cook's self-titled debut album from 2011. In trademark dub fashion, Prince Fatty strips back Hollie’s classic reggae and tropical pop productions, adding in extra bass alongside delays, tape echoes, and reverbs to Hollie’s captivating vocals. The resulting versions give the songs space to breathe, whilst adding in a weighty, heads-down element to the productions.
As Prince Fatty mentions, “The dub versions showcase real tape echoes, heavy spring reverbs and alternate instrumental elements such as melodica, percussion or horns that were hidden in the vocal versions. All the dubs are mixed live in my studio in the same Rub a Dub style as was made famous in ‘70s Jamaica by King Tubby and others, i.e, not with the use of computers for automation and endless digital nonsense but with fingers, late night vibes and re-arranged with a razor blade!”.
In addition to the tracks featured from the debut album, this dub release features mixes of Hollie Cook and Prince Fatty’s cover version of The Whispers’ disco classic ‘And The Beat Goes On’ and ‘For Me You Are Dub’, a ska cover of an old Andrews Sisters’ classic. Alongside that, there’s a delicious adaptation of the Shangri-Las’ legendary record ‘Walking in the Sand’, and ‘Baby’, a revamp of the heavily requested anthem, in collaboration with French synth-pop outfit, The Shoes.
Thirteen years on, this superb dub album sounds as quintessential and authentic as ever.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Eduardo Araújo & Silvinha - Sou Filho Desse Chão
2
Eduardo Araújo & Silvinha - Círculo Vicioso
3
Eduardo Araújo & Silvinha - Girassol
4
Eduardo Araújo & Silvinha - Capoeira
5
Eduardo Araújo & Silvinha - O Tempo Que Esse Tempo Tem
6
Eduardo Araújo & Silvinha - Manda Embora A Tristeza
7
Eduardo Araújo & Silvinha - Misturando Rock Com Baião
8
Eduardo Araújo & Silvinha - Ter O Que Eu Tenho Sem Você
9
Eduardo Araújo & Silvinha - Capoeira
10
Eduardo Araújo & Silvinha - Opanigê
Brazil is a treasure trove of inspirational music from the past, present, and future. Here we head back to 1976 for a one-of-a-kind kaleidoscopic journey, melding Brazilian regional rhythms with funk, rock, soul, and psychedelia by the married couple Eduardo Araújo and Silvinha. A cult classic and beloved record for some of the scene’s biggest DJs including Floating Points, it was further immortalised when Madlib sampled ‘Opanigê’ for his track ‘São Paulo’.
Singers Eduardo Araújo and Silvinha Araújo had successful careers in Brazil beginning in the 1960s. Eduardo broke through with the rock-infused Jovem Guarda hit ‘O Bom’. Stepping into more soulful territory, Eduardo released ‘A Onda É Boogaloo’ in 1969, produced by a young Tim Maia and followed it up with a number of other notable releases. Also part of the Jovem Guarda movement, Silvinha recorded a string of excellent albums and numerous 7” compactos for Odeon and RCA.
In 1976, the duo set forth the landmark underground album Sou Filho Dêsse Chão, complete with its eye-catching psychedelic cover art by Gustavo Matula and Jan Matula. The album featured a heavyweight line up of musicians, including accordionist supreme Dominguinhos, the drummer Dirceu Medeiros, who played on the first Os Mutantes album, and members of the esteemed bands Banda Black Rio and Som Nosso.
Sou Filho Dêsse Chão was inspired by the pair's travels to Salvador, Bahia. Eduardo was influenced by the Brazilian culture of the region and wanted to incorporate and capture the sounds of capoeira, Forró, and candomblé into the album. Here we have the traditional African-Brazilian culture of Northern Brazil fusing with the contemporary commercial music of Rio and São Paulo’s Tropicalia, MPB, psych-rock, and Black Rio movements. Uniting the cultures, Eduardo and Silvinha managed to combine these genres seamlessly.
It's an album full of highlights, with the Tim Maia-esque funk of ‘O Tempo Que Esse Tempo Tem’ laced with its rock tones, sitting side by side with the accordion-driven ‘Sou Filho Desse Chão’ and rolling groove of ‘Manda Embora A Tristeza’. Elsewhere the elegant trippy psych-funk of ‘Capoeira’ sees Eduardo and Silvinha effortlessly trading vocal duties. The record would also reach a new audience outside of Brazil when one of the standout tracks, the highly original spacey ‘Opanigê’, was sampled by Madlib for his track ‘São Paulo’.
Even though on release it was not a commercial success, Sou Filho Dêsse Chão has since found its place as an iconic and treasured LP.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Singers Eduardo Araújo and Silvinha Araújo had successful careers in Brazil beginning in the 1960s. Eduardo broke through with the rock-infused Jovem Guarda hit ‘O Bom’. Stepping into more soulful territory, Eduardo released ‘A Onda É Boogaloo’ in 1969, produced by a young Tim Maia and followed it up with a number of other notable releases. Also part of the Jovem Guarda movement, Silvinha recorded a string of excellent albums and numerous 7” compactos for Odeon and RCA.
In 1976, the duo set forth the landmark underground album Sou Filho Dêsse Chão, complete with its eye-catching psychedelic cover art by Gustavo Matula and Jan Matula. The album featured a heavyweight line up of musicians, including accordionist supreme Dominguinhos, the drummer Dirceu Medeiros, who played on the first Os Mutantes album, and members of the esteemed bands Banda Black Rio and Som Nosso.
Sou Filho Dêsse Chão was inspired by the pair's travels to Salvador, Bahia. Eduardo was influenced by the Brazilian culture of the region and wanted to incorporate and capture the sounds of capoeira, Forró, and candomblé into the album. Here we have the traditional African-Brazilian culture of Northern Brazil fusing with the contemporary commercial music of Rio and São Paulo’s Tropicalia, MPB, psych-rock, and Black Rio movements. Uniting the cultures, Eduardo and Silvinha managed to combine these genres seamlessly.
It's an album full of highlights, with the Tim Maia-esque funk of ‘O Tempo Que Esse Tempo Tem’ laced with its rock tones, sitting side by side with the accordion-driven ‘Sou Filho Desse Chão’ and rolling groove of ‘Manda Embora A Tristeza’. Elsewhere the elegant trippy psych-funk of ‘Capoeira’ sees Eduardo and Silvinha effortlessly trading vocal duties. The record would also reach a new audience outside of Brazil when one of the standout tracks, the highly original spacey ‘Opanigê’, was sampled by Madlib for his track ‘São Paulo’.
Even though on release it was not a commercial success, Sou Filho Dêsse Chão has since found its place as an iconic and treasured LP.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Blurring the lines between fiction and documentary, the seminal film Wild Style, directed by Charlie Ahearn and developed alongside Fred Braithwaite aka Fab Five Freddy, offered an iconic snapshot of the emerging New York hip hop scene in the early ‘80s. Considered one of the first hip hop films, it documents the styles, culture, attitudes, and most importantly, the music of this evolving era. The accompanying soundtrack remains one of the most influential in hip hop history, featuring a who’s who of artists who stood out during the movement’s nascent block party days.
“Making hip hop’s first and most beloved feature film, Wild Style, with Charlie Ahearn and creating the original music is one of my proudest accomplishments.” - Fab 5 Freddy
In celebration of Arrow Films restoring the original Wild Style film in 4K, Mr Bongo is proud to present this special-edition reissue package. The release comes as a double LP pressed on transparent blue and orange vinyl, offering a freshly curated tracklist that brings together the finest songs from previous editions, the full sought-after instrumental album, and Kenny Dope’s top edits. Also included are an A2 colour poster, five film set photos, a flexi disc containing Fantastic Freaks Live at the Dixie, and a Wild Style sticker sheet.
Originally released on Animal Records, founded by Chris Stein of Blondie fame, the soundtrack focuses on the hip hop scene as it evolved from the streets to the recording studio. Co-produced by Stein and Braithwaite, it features the Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself Busy Bee, and the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks, to name but a few. The music offers a transportive glimpse into the streets of the South Bronx, capturing the free-form, roaming nature of the film - it’s rough around the edges, but utterly absorbing.
Behind those foundational voices of hip hop’s first wave was a selection of backing beats that have underpinned and influenced the genre ever since. Easily mistaken for lifted breakbeats from old records, the songs on the Wild Style soundtrack are all unique creations. Overseen by Braithwaite and Stein, with Stein also on guitar and effects, they were intended as a homage to those early breakbeats. Drummer Lenny “Ferrari” Ferraro, who played for Aretha Franklin before emerging on the punk scene, and bassist David Harper laid down many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound.
Over time, the Wild Style soundtrack, with its Charlie Chase and Grand Wizard Theodore scratches, recurring sounds and motifs, and indelible lyrics, has become a hip hop touchstone: endlessly sampled and referenced, the bedrock of so much music to follow. It perfectly encapsulated the essence of the film, the scene, and hip hop’s emergence from the Bronx to the attention of the wider world. It was, and remains, the blueprint.
The reissue package features:
Vinyl 2LP (Transparent Blue + Orange Vinyl) in gatefold Sleeve
A2 Colour Poster
5 x Film Set Photos
Flexi Disc ‘Fantastic Freaks Live At The Dixie’
Wild Style Sticker Sheet
VINYL:
Side A
Grand Wizard Theodore and D.J. Kevie Kev Rockwell - Military Cut (Scratch Mix)
The Chief Rocker Busy Bee vs Lil Rodney Cee & D.J. Grand Wizard Theodore - M.C. Battle
The Cold Crush Bros. vs The Fantastic Freaks - Basketball Throwdown
Kevie Kev (Waterbed Kev), Master Rob, Prince Whipper Whip, M.C., Rubie Dee, Dota Rock, D.J. Grand Wizard Theodore, D.J. Kevie Kev Rockwell - Fantastic Freaks At The Dixie
D.J. Grand Wizard Theodore - Subway Theme
Grand Master Caz, JDL, Easy AD, KG , and D.J. Charlie Chase, D.J. Toney Tone - Cold Crush Bros. At The Dixie
Side B
Rodney Cee, K. K. Rockwell, D.J. Stevie Steve - Double Trouble At The Amphitheater
Grandmaster Caz - South Bronx Subway Rap
Busy Bee - Street Rap (Subway Mix)
Busy Bee - Busy Bee At The Amphitheater
Fantastic Freaks - Fantastic Freaks At The Amphitheater
D.J. Grand Wizard Theodore - Gangbusters
Rammellzee and Shock Dell With The Grand Mixer DST - Rammellzee & Shockdell At The Amphitheater
Fab 5 Freddy - Down By Law
Side C
Fab 5 Freddy (Fred Braithwaite) - B Boy Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Yawning Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Crime Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Gangbusters (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Cuckoo Clocking (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Meetings (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Military Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Razor Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Subway Theme (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Busy Bees (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Down By Law (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Baby Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Jungle Beat (Instrumental)
Side D
Kev Luckhurst - Wildstyle Scratch Tool
Fab 5 Freddy (Fred Braithwaite) - Baby Beat (Kenny Dope Edit)
Fab 5 Freddy (Fred Braithwaite) - Jungle Beat (Kenny Dope Edit)
FLEXI DISC:
Fantastic Freaks - Fantastic Freaks Live At The Dixie
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“Making hip hop’s first and most beloved feature film, Wild Style, with Charlie Ahearn and creating the original music is one of my proudest accomplishments.” - Fab 5 Freddy
In celebration of Arrow Films restoring the original Wild Style film in 4K, Mr Bongo is proud to present this special-edition reissue package. The release comes as a double LP pressed on transparent blue and orange vinyl, offering a freshly curated tracklist that brings together the finest songs from previous editions, the full sought-after instrumental album, and Kenny Dope’s top edits. Also included are an A2 colour poster, five film set photos, a flexi disc containing Fantastic Freaks Live at the Dixie, and a Wild Style sticker sheet.
Originally released on Animal Records, founded by Chris Stein of Blondie fame, the soundtrack focuses on the hip hop scene as it evolved from the streets to the recording studio. Co-produced by Stein and Braithwaite, it features the Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself Busy Bee, and the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks, to name but a few. The music offers a transportive glimpse into the streets of the South Bronx, capturing the free-form, roaming nature of the film - it’s rough around the edges, but utterly absorbing.
Behind those foundational voices of hip hop’s first wave was a selection of backing beats that have underpinned and influenced the genre ever since. Easily mistaken for lifted breakbeats from old records, the songs on the Wild Style soundtrack are all unique creations. Overseen by Braithwaite and Stein, with Stein also on guitar and effects, they were intended as a homage to those early breakbeats. Drummer Lenny “Ferrari” Ferraro, who played for Aretha Franklin before emerging on the punk scene, and bassist David Harper laid down many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound.
Over time, the Wild Style soundtrack, with its Charlie Chase and Grand Wizard Theodore scratches, recurring sounds and motifs, and indelible lyrics, has become a hip hop touchstone: endlessly sampled and referenced, the bedrock of so much music to follow. It perfectly encapsulated the essence of the film, the scene, and hip hop’s emergence from the Bronx to the attention of the wider world. It was, and remains, the blueprint.
The reissue package features:
Vinyl 2LP (Transparent Blue + Orange Vinyl) in gatefold Sleeve
A2 Colour Poster
5 x Film Set Photos
Flexi Disc ‘Fantastic Freaks Live At The Dixie’
Wild Style Sticker Sheet
VINYL:
Side A
Grand Wizard Theodore and D.J. Kevie Kev Rockwell - Military Cut (Scratch Mix)
The Chief Rocker Busy Bee vs Lil Rodney Cee & D.J. Grand Wizard Theodore - M.C. Battle
The Cold Crush Bros. vs The Fantastic Freaks - Basketball Throwdown
Kevie Kev (Waterbed Kev), Master Rob, Prince Whipper Whip, M.C., Rubie Dee, Dota Rock, D.J. Grand Wizard Theodore, D.J. Kevie Kev Rockwell - Fantastic Freaks At The Dixie
D.J. Grand Wizard Theodore - Subway Theme
Grand Master Caz, JDL, Easy AD, KG , and D.J. Charlie Chase, D.J. Toney Tone - Cold Crush Bros. At The Dixie
Side B
Rodney Cee, K. K. Rockwell, D.J. Stevie Steve - Double Trouble At The Amphitheater
Grandmaster Caz - South Bronx Subway Rap
Busy Bee - Street Rap (Subway Mix)
Busy Bee - Busy Bee At The Amphitheater
Fantastic Freaks - Fantastic Freaks At The Amphitheater
D.J. Grand Wizard Theodore - Gangbusters
Rammellzee and Shock Dell With The Grand Mixer DST - Rammellzee & Shockdell At The Amphitheater
Fab 5 Freddy - Down By Law
Side C
Fab 5 Freddy (Fred Braithwaite) - B Boy Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Yawning Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Crime Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Gangbusters (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Cuckoo Clocking (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Meetings (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Military Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Razor Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Subway Theme (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Busy Bees (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Down By Law (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Baby Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Jungle Beat (Instrumental)
Side D
Kev Luckhurst - Wildstyle Scratch Tool
Fab 5 Freddy (Fred Braithwaite) - Baby Beat (Kenny Dope Edit)
Fab 5 Freddy (Fred Braithwaite) - Jungle Beat (Kenny Dope Edit)
FLEXI DISC:
Fantastic Freaks - Fantastic Freaks Live At The Dixie
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1
Ramon Morris - First Come, First Serve
2
Ramon Morris - Wijinia
3
Ramon Morris - Sweet Sister Funk
4
Ramon Morris - Sweat
5
Ramon Morris - Don't Ask Me
6
Ramon Morris - Lord Sideways
7
Ramon Morris - People Make The World Go Round
Next up in Mr Bongo's Groove Merchant Records reissue series, we present the only solo album saxophonist Ramon Morris recorded as a bandleader. Having cut his teeth playing with the iconic band Art Blakey & The Jazz Messengers and working with other jazz greats, including Reuben Wilson, Shirley Scott, Rashied Ali Quintet, and Woody Shaw, 1973 saw Ramon take the step into solo territory. The resulting album Sweet Sister Funk became a certified classic and a landmark showcase of the cherished ‘70s jazz-funk sound, later sampled by the likes of DJ Premier, The Alchemist and DJ Shadow.
Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.
A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.
Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris.
Housed in a tip-on sleeve.
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Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.
A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.
Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris.
Housed in a tip-on sleeve.
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DE - 22113 Hamburg
Germany
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1
Marvin Gaye & Studio Rio - Sexual Healing (Studio Rio Version)
2
Marvin Gaye & Studio Rio - Sexual Healing (Studio Rio Instrumental Version)
Following Mr Bongo’s reissue of Studio Rio’s exquisite Brazilian-infused take on Bill Withers’ ‘Lovely Day’, which was one of the standout hits from last summer, we shine a light on another of their superb remakes. Masterminded and produced by the German, Grammy award-winning Berman Brothers, and using the same all-star cast behind the Bill Withers’ reinterpretation, they put a joyous Brazilian twist on the Marvin Gaye classic 'Sexual Healing'. Rich in positivity and a pure end-of-the-night classic, this is another surefire winner to light up any occasion.
A project born out of Christian & Frank Berman's, aka the Berman Brothers, passion for Brazilian music, they had wondered what some of the all-time classic US soul songs would sound like if they had been recorded in Rio de Janeiro with the best Brazilian musicians. “The idea took root in the vibrant streets of Rio de Janeiro. Beyond the city’s main carnival, countless neighbourhood block parties pulse with live samba drumming, colourful costumes, and a joyful mix of freedom, music, and cultural expression. The goal was to capture this spirit and channel it into Gaye’s timeless hit,” explain the Berman Brothers.
Heading to Rio in 2013, the brothers assembled a select team of top-level Brazilian musicians including many sidemen to one of Brazil’s most influential composers, Tom Jobim. They brought in Torcuato Mariano, renowned for his work with Djavan and Gilberto Gil, to arrange the songs, drawing inspiration from classic '60s / '70s Brazilian samba recordings for this new remake. Another addition was Pretinho da Serrinha, one of Brazil’s most acclaimed samba musicians, who worked with Seu Jorge, Caetano Veloso, and Lulu Santos. His masterful percussion and cavaquinho playing gave the track its irresistible summer energy.
Having spoken to Sony about their idea, they were given access to the multitrack tapes, meaning they could present Marvin’s original vocal take with this reimagined Brazilian flavour. “Our goal was to create an authentic samba recording to accompany Marvin Gaye’s vocal performance. We wanted to honour the original while creating something fresh – hoping people would feel as if the song had been recorded this way from the very beginning”.
Remoulding Gaye's iconic lovers’ anthem from 1982, the brothers flipped ‘Sexual Healing’ into a joy-filled, smouldering samba-driven beauty. It’s a breezy, light-hearted remake, with Marvin's sublime soul delivery sitting perfectly amidst the shuffling cavaquinho and cuica groove. Uplifting horn stabs, building melodies, and heartfelt harmonies elevate the song to an ecstatic climax.
Now pressed to 45 for the first time, with the instrumental on the B-side, this single is the perfect cut to ignite the party or as that feel-good closer that will send everyone home on a high.
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Germany
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A project born out of Christian & Frank Berman's, aka the Berman Brothers, passion for Brazilian music, they had wondered what some of the all-time classic US soul songs would sound like if they had been recorded in Rio de Janeiro with the best Brazilian musicians. “The idea took root in the vibrant streets of Rio de Janeiro. Beyond the city’s main carnival, countless neighbourhood block parties pulse with live samba drumming, colourful costumes, and a joyful mix of freedom, music, and cultural expression. The goal was to capture this spirit and channel it into Gaye’s timeless hit,” explain the Berman Brothers.
Heading to Rio in 2013, the brothers assembled a select team of top-level Brazilian musicians including many sidemen to one of Brazil’s most influential composers, Tom Jobim. They brought in Torcuato Mariano, renowned for his work with Djavan and Gilberto Gil, to arrange the songs, drawing inspiration from classic '60s / '70s Brazilian samba recordings for this new remake. Another addition was Pretinho da Serrinha, one of Brazil’s most acclaimed samba musicians, who worked with Seu Jorge, Caetano Veloso, and Lulu Santos. His masterful percussion and cavaquinho playing gave the track its irresistible summer energy.
Having spoken to Sony about their idea, they were given access to the multitrack tapes, meaning they could present Marvin’s original vocal take with this reimagined Brazilian flavour. “Our goal was to create an authentic samba recording to accompany Marvin Gaye’s vocal performance. We wanted to honour the original while creating something fresh – hoping people would feel as if the song had been recorded this way from the very beginning”.
Remoulding Gaye's iconic lovers’ anthem from 1982, the brothers flipped ‘Sexual Healing’ into a joy-filled, smouldering samba-driven beauty. It’s a breezy, light-hearted remake, with Marvin's sublime soul delivery sitting perfectly amidst the shuffling cavaquinho and cuica groove. Uplifting horn stabs, building melodies, and heartfelt harmonies elevate the song to an ecstatic climax.
Now pressed to 45 for the first time, with the instrumental on the B-side, this single is the perfect cut to ignite the party or as that feel-good closer that will send everyone home on a high.
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pdqb - A1 Glaskilometer - 3:15
2
pdqb - B1 Kryotanz - 2:37
Green Color Flexi Disc
2. GENRE/S: Techno, Electro
3. TRACKLIST:
A1 Glaskilometer - 3:15
B1 Kryotanz - 2:37
4. SHORT INFO:
Two pdqb tracks that will never be released were processed and discarded by AI.
What remains is a machine reconstruction.
It is precise, efficient, emotionally reduced.
Any comparison to the originals is impossible.
Pressed on green flexi. A soft, unstable medium for a rigid machine output.
An attempt to re-inject fragility.
5. VITAL SALES POINTS:
" Green. Because black felt too confident.
" Engineered to never stay flat.
" Will age faster than your software licenses.
" Plays at the correct tempo. Sometimes.
" Loved by humans and machines alike.
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Liebigstrasse 2-20
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Germany
Contact: [email protected]More
2. GENRE/S: Techno, Electro
3. TRACKLIST:
A1 Glaskilometer - 3:15
B1 Kryotanz - 2:37
4. SHORT INFO:
Two pdqb tracks that will never be released were processed and discarded by AI.
What remains is a machine reconstruction.
It is precise, efficient, emotionally reduced.
Any comparison to the originals is impossible.
Pressed on green flexi. A soft, unstable medium for a rigid machine output.
An attempt to re-inject fragility.
5. VITAL SALES POINTS:
" Green. Because black felt too confident.
" Engineered to never stay flat.
" Will age faster than your software licenses.
" Plays at the correct tempo. Sometimes.
" Loved by humans and machines alike.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Anne Clark - Our Darkness (Remix)
2
Anne Clark - Our Darkness (Dub Mix)
3
Anne Clark - Our Darkness (Razormaid Mix)
4
Anne Clark - Sleeper In Metropolis (Extended Remix)
5
Anne Clark - Poem For A Nuclear Romance
Doubting all the time. Fearing all the time. Our Darkness descends upon Dark Entries with a reissue of Anne Clark’s epochal proto-house masterpiece from 1984. As a young poet, Clark found herself drawn to London’s emerging punk scene. She became acquainted with Psychic TV affiliate David Harrow, with whom she would collaborate on 1983’s Changing Places and 1984’s Joined Up Writing. “Our Darkness,” off the latter album, was released as a single on Ink Records that same year, and became an underground club hit. It’s a singular piece of music: Clark’s lyrics, delivered with equal parts muscular confidence and unease, speak of urban alienation and heartbreak, while Harrow’s production pummels the listener with hydraulic beats and gloom-laced arpeggios. The song’s spirit would prove influential on both the early Chicago house and Detroit techno scenes, where mechanistic funk and existential despair could catalyse dancefloor mayhem. This reissue offers three versions of “Our Darkness”: the original 12” remix, the Razormaid mix, and a previously unreleased dub version uncovered by David Harrow. Also included is the extended mix of “Sleeper in Metropolis,” another dancefloor hit of Clark’s, as well as the elegiac “Poem for a Nuclear Romance.” The record includes an insert with liner notes and lyrics. “Our Darkness” channels timeless longing and contemporary dismay, a classic overdue for a little light shed upon it.
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Germany
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1
NY Stomp - The NY House Trak
2
NY Stomp - Can You Feel It?
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NY Stomp - The NY House Trak (Instrumental)
The NY House Trak brought joy to dance floors world wide in 2012 and beyond. With second hand copies now fetching for 40 euros and over, we thought it was time to serve you with a limited re-press of both this club track and Can You Feel It? Pressed on beautiful coke bottle green transparent vinyl!
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Germany
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1
Unknown Artist - Tom's D
2
Unknown Artist - Orbitar
Repress Of Creature 004
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Germany
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1
Fireground - The Way
2
Fireground - Elisir
3
Fireground - Activate
4
Fireground - Family Trees
5
Fireground - Fixed In Flux (Digital Bonus)
Territories: World excl. UK
FORMAT 12" vinyl, dl card incl. digital bonus
TRACKLIST
1. / A1 The Way 05:31
2. / A2 Elisir 05:03
3. / B1 Activate 05:15
4. / B2 Family Trees 05:01
5. / DX Fixed In Flux (Digital Bonus)
On April 3rd, 2026, Fireground returns to Tresor Records with Refreshing Part 2.
As with the band’s 2023 release of the same name, Refreshing Part 2 is a decisive and fierce collection of percussive techno that nonetheless travels its path with a heightened level of funkiness.
The Italian duo describe the concept behind this collection as being “not about resetting, but about balancing. Refreshing means reconnecting with the present and with the future…focusing on one’s own way in order to prevent the flow from becoming automatic, uncontrolled, and
without orientation. It is more a direction than a path.”
The four tracks on the 12” are hypnotic dives into a full spectrum of club music: the rhythms and sound design guiding the subconscious into visions of past, present and future intermingled, a reminder that all moments co-exist simultaneously.
Side A passes from the stripped-down intensity of The Way through to Elisir (Elixir), which manages to pull off a trick of feeling light and floaty while maintaining the power of its predecessor. The flip side opens with the forceful drive of Activate before making way to the
percussive elasticity of Family Tree, a track which closes out the EP by recalling, in both name and sound, how that which came before deeply affects the now, though often in ways only subliminally perceived.
Digital-only track Fixed in Flux continues this concept, and the overall themes of Refreshing Part 2, with further evocations of intent and movement; remaining present in change, without resisting it, yet without dissolving into it.
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FORMAT 12" vinyl, dl card incl. digital bonus
TRACKLIST
1. / A1 The Way 05:31
2. / A2 Elisir 05:03
3. / B1 Activate 05:15
4. / B2 Family Trees 05:01
5. / DX Fixed In Flux (Digital Bonus)
On April 3rd, 2026, Fireground returns to Tresor Records with Refreshing Part 2.
As with the band’s 2023 release of the same name, Refreshing Part 2 is a decisive and fierce collection of percussive techno that nonetheless travels its path with a heightened level of funkiness.
The Italian duo describe the concept behind this collection as being “not about resetting, but about balancing. Refreshing means reconnecting with the present and with the future…focusing on one’s own way in order to prevent the flow from becoming automatic, uncontrolled, and
without orientation. It is more a direction than a path.”
The four tracks on the 12” are hypnotic dives into a full spectrum of club music: the rhythms and sound design guiding the subconscious into visions of past, present and future intermingled, a reminder that all moments co-exist simultaneously.
Side A passes from the stripped-down intensity of The Way through to Elisir (Elixir), which manages to pull off a trick of feeling light and floaty while maintaining the power of its predecessor. The flip side opens with the forceful drive of Activate before making way to the
percussive elasticity of Family Tree, a track which closes out the EP by recalling, in both name and sound, how that which came before deeply affects the now, though often in ways only subliminally perceived.
Digital-only track Fixed in Flux continues this concept, and the overall themes of Refreshing Part 2, with further evocations of intent and movement; remaining present in change, without resisting it, yet without dissolving into it.
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Germany
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octave one - Black Water
2
octave one - Black Waters
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octave one - Untold
Stone cold year 2000 Detroit Techno classic from Burden Bros
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Germany
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Label:InFiné
Cat-No:IF1104STD
Release-Date:13.03.2026
Genre:Electronic, Electronica
Configuration:LP Excl
Label:InFiné
Cat-No:IF1104STD
Release-Date:13.03.2026
Genre:Electronic, Electronica
Configuration:LP Excl
territories : ww -fr -uk -benelux
Genre
• Electronic
Format
• LP, clear bio-vinyl
Tracklist
A1_Aiwa - 04:56
A2_Hypercube - 04:52
A3_Yucon - 02:49
04_Bialystok - 04:29
A5_The Ice House - 01:24
A6_Sunlight On Saturn - 03:13
B1_You’ll Find a Way - 03:18
B2_Baltasound Feat. Dextro - 04:37
B3_Orbiting Meadows Feat. Clark - 02:05
B4_Slow Yamaha - 09:00
B5_Black Drift (Outro) - 01:11
As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.
The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.
Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.
The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.
‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract.
There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Genre
• Electronic
Format
• LP, clear bio-vinyl
Tracklist
A1_Aiwa - 04:56
A2_Hypercube - 04:52
A3_Yucon - 02:49
04_Bialystok - 04:29
A5_The Ice House - 01:24
A6_Sunlight On Saturn - 03:13
B1_You’ll Find a Way - 03:18
B2_Baltasound Feat. Dextro - 04:37
B3_Orbiting Meadows Feat. Clark - 02:05
B4_Slow Yamaha - 09:00
B5_Black Drift (Outro) - 01:11
As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.
The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.
Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.
The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.
‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract.
There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Mr. G - City Heat - G’s Underground Dub
2
Mr. G - Serendipity
3
Mr. G - Work
Format: blue vinyl
Tracklist
A1. City Heat - G’s Underground Dub
B1. Serendipity
B2. Work
Info:
The special one! Mr. G’s productions are distinctive, deep, driving and, above all, a listen to behold. Like the man–machine interface between hypno house and roots techno, he manages to unite dance floors either through his High Mass–like live sets full of swing, grit and soul, or simply through other DJs playing his records.
Blessing Running Back for the second time, Mr. G’s Reconnection EP is the result of a serious dive into his vaults.
City Heat (G’s Underground Dub) is a picture-perfect example of his skill to groove without a doubt: raw, funky and fabulous. Serendipity and Work on the flip side complete this picture. Decades of record buying, music making and a love supreme for this culture rolled into one. Made yesterday, released today, and it will still sound great tomorrow. A personal gift from Mr. G’s archive to Running Back.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist
A1. City Heat - G’s Underground Dub
B1. Serendipity
B2. Work
Info:
The special one! Mr. G’s productions are distinctive, deep, driving and, above all, a listen to behold. Like the man–machine interface between hypno house and roots techno, he manages to unite dance floors either through his High Mass–like live sets full of swing, grit and soul, or simply through other DJs playing his records.
Blessing Running Back for the second time, Mr. G’s Reconnection EP is the result of a serious dive into his vaults.
City Heat (G’s Underground Dub) is a picture-perfect example of his skill to groove without a doubt: raw, funky and fabulous. Serendipity and Work on the flip side complete this picture. Decades of record buying, music making and a love supreme for this culture rolled into one. Made yesterday, released today, and it will still sound great tomorrow. A personal gift from Mr. G’s archive to Running Back.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
DJ Assault - U Can't See Me (Hardspace Mix)
2
Myles Sergé - Trans Milenio (Hardspace Mix)
3
Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix)
4
Deepchild - Baller (Hardspace Mix)
12" colored vinyl with full cover print (the vinyl color is transparent green)
TRACKLIST:
A1. DJ Assault - U Can't See Me (Hardspace Mix)
A2. Myles Sergé - Trans Milenio (Hardspace Mix)
B1. Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix)
B2. Deepchild - Baller (Hardspace Mix)
INFO:
For the ninth installment of his Hardspace series, Len Faki once again dives into his personal vault to present four reworks that bridge the gap between raw funk and modern, high-impact club dynamics. True to the project's ethos, Faki has selected tracks that have been reshaped through his specific sonic signature to maximize their energy on today's dancefloors.
A1. DJ Assault - U Can't See Me (Hardspace Mix) The release opens with a relentless edit of Detroit legend DJ Assault. Faki takes the raw Ghetto-tech energy of the original and embeds it into a massive, modern framework. While the iconic vocal hook retains its street-level grit, the Hardspace update provides a significantly tighter groove and a powerful low-end presence, propelling the track from the warehouse straight into the present.
A2. Myles Sergé - Trans Milenio (Hardspace Mix) With Myles Sergé, Faki explores more hypnotic territory. He extracts the driving, repetitive elements of the original and sharpens the rhythmic angles. The result is a prime example of the Hardspace sound: a deep, almost meditative loop that gains entirely new spatial depth through subtle filter movements and a crystal-clear percussion layer.
B1. Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix) On the flip side, Faki leans into the brooding atmosphere of Jad & The. As the name suggests, this mix is crafted for the "wee hours". Faki amplifies the "grimey" textures and contrasts them with a stoic, forceful beat. The trippy, almost menacing synth elements are rearranged within the stereo field, creating an immersive pull that is impossible to escape.
B2. Deepchild - Baller (Hardspace Mix) To close out the EP, Faki brings the jacking spirit of Deepchild's "Baller" back into the ring. Through meticulous re-arrangement and quantization, he gives the track the "tightness" essential for a modern DJ set. The playful, bouncing synths remain, but are now grounded by a heavy-duty beat foundation.
H009 is a hand-picked collection that demonstrates how Len Faki unites diverse musical personalities and eras under the Hardspace umbrella. Whether it's raw ghetto vibes or hypnotic deepness, every track has been transformed with technical precision and deep respect for the original to meet the demands of global dancefloors.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
TRACKLIST:
A1. DJ Assault - U Can't See Me (Hardspace Mix)
A2. Myles Sergé - Trans Milenio (Hardspace Mix)
B1. Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix)
B2. Deepchild - Baller (Hardspace Mix)
INFO:
For the ninth installment of his Hardspace series, Len Faki once again dives into his personal vault to present four reworks that bridge the gap between raw funk and modern, high-impact club dynamics. True to the project's ethos, Faki has selected tracks that have been reshaped through his specific sonic signature to maximize their energy on today's dancefloors.
A1. DJ Assault - U Can't See Me (Hardspace Mix) The release opens with a relentless edit of Detroit legend DJ Assault. Faki takes the raw Ghetto-tech energy of the original and embeds it into a massive, modern framework. While the iconic vocal hook retains its street-level grit, the Hardspace update provides a significantly tighter groove and a powerful low-end presence, propelling the track from the warehouse straight into the present.
A2. Myles Sergé - Trans Milenio (Hardspace Mix) With Myles Sergé, Faki explores more hypnotic territory. He extracts the driving, repetitive elements of the original and sharpens the rhythmic angles. The result is a prime example of the Hardspace sound: a deep, almost meditative loop that gains entirely new spatial depth through subtle filter movements and a crystal-clear percussion layer.
B1. Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix) On the flip side, Faki leans into the brooding atmosphere of Jad & The. As the name suggests, this mix is crafted for the "wee hours". Faki amplifies the "grimey" textures and contrasts them with a stoic, forceful beat. The trippy, almost menacing synth elements are rearranged within the stereo field, creating an immersive pull that is impossible to escape.
B2. Deepchild - Baller (Hardspace Mix) To close out the EP, Faki brings the jacking spirit of Deepchild's "Baller" back into the ring. Through meticulous re-arrangement and quantization, he gives the track the "tightness" essential for a modern DJ set. The playful, bouncing synths remain, but are now grounded by a heavy-duty beat foundation.
H009 is a hand-picked collection that demonstrates how Len Faki unites diverse musical personalities and eras under the Hardspace umbrella. Whether it's raw ghetto vibes or hypnotic deepness, every track has been transformed with technical precision and deep respect for the original to meet the demands of global dancefloors.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
IGLO - Connection
2
IGLO - Kauriraris
3
IGLO - Blink Twice
4
IGLO - Alive
12" vinyl with full cover print
TRACKLIST:
A1 Connection
A2 Kauriraris
B1 Blink Twice
B2 Alive
Forlornly (digital only)
INFO:
With Severance, IGLO returns to Figure with a focused yet exploratory EP that reflects his open-ended approach to contemporary techno. The release moves fluidly between restraint and expression, combining functional structures with subtle, unconventional elements that give the tracks a distinct sense of character. Rather than settling into a fixed formula, Severance highlights IGLO's curiosity and willingness to push his sound forward while remaining grounded in precision and control.
Connection opens the release with a restrained, heads-down groove. A firm low-end foundation and sparse percussion lock into a steady momentum, while understated melodic elements add depth without breaking the track's linear drive.
On Kauriraris, the energy tightens. Nervous synth motifs and crisp rhythmic details create a sense of urgency, pushing the track forward through constant micro-variation. It's a lean and effective tool built for sustained pressure.
Flipping the record, Blink Twice moves into darker, denser territory. Murky textures and a weighty groove unfold gradually, building tension through repetition and space. The track thrives on its slow burn, making it well-suited for late-night transitions.
Alive introduces a more open and flowing feel. Warmer tonal elements and a subtle swing soften the edges, while the groove remains firmly anchored and forward-moving.
Digital-only track Forlornly closes the EP with a spacious and introspective mood. Reduced rhythms and airy melodic layers create a calm, drifting atmosphere that rounds off the release with control and restraint.
With Severance, IGLO delivers a tightly structured EP that emphasizes clarity, tension and functionality - a confident addition to the Figure catalogue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
TRACKLIST:
A1 Connection
A2 Kauriraris
B1 Blink Twice
B2 Alive
Forlornly (digital only)
INFO:
With Severance, IGLO returns to Figure with a focused yet exploratory EP that reflects his open-ended approach to contemporary techno. The release moves fluidly between restraint and expression, combining functional structures with subtle, unconventional elements that give the tracks a distinct sense of character. Rather than settling into a fixed formula, Severance highlights IGLO's curiosity and willingness to push his sound forward while remaining grounded in precision and control.
Connection opens the release with a restrained, heads-down groove. A firm low-end foundation and sparse percussion lock into a steady momentum, while understated melodic elements add depth without breaking the track's linear drive.
On Kauriraris, the energy tightens. Nervous synth motifs and crisp rhythmic details create a sense of urgency, pushing the track forward through constant micro-variation. It's a lean and effective tool built for sustained pressure.
Flipping the record, Blink Twice moves into darker, denser territory. Murky textures and a weighty groove unfold gradually, building tension through repetition and space. The track thrives on its slow burn, making it well-suited for late-night transitions.
Alive introduces a more open and flowing feel. Warmer tonal elements and a subtle swing soften the edges, while the groove remains firmly anchored and forward-moving.
Digital-only track Forlornly closes the EP with a spacious and introspective mood. Reduced rhythms and airy melodic layers create a calm, drifting atmosphere that rounds off the release with control and restraint.
With Severance, IGLO delivers a tightly structured EP that emphasizes clarity, tension and functionality - a confident addition to the Figure catalogue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Joel Sarakula - Hands Of Love (Ben Jamin Remix)
2
Kimchii - Do You Ever (Monsieur van Pratt Deep Remix)
3
Goodvibes Sound - Stay For One More Night (Matt Hughes' Late Night Radio Remix
VariousMarbled white/opaque 7" Vinyl
Genre: NuDisco, Daytime Disco, Indie Disco
TSTD NEO returns with smooth slow disco remixes for three tracks, originally featured on THE SUNSET MANIFESTO Volume 2:
One of the standout tracks of THE SUNSET MANIFESTO 2, the super smooth Westcoast inspired "Hands of Love" gets an even smoother remix treatment by Liverpools BEN JAMIN, perfectly suited for your next late night bar dj sets.
Stockholm meets Mexico City! TSTD resident producer Monsieur Van Pratt returns from remixing Poolside on The Sunset Manifesto 2, and comes back with a romantic slow disco version of Kimchi's "Do You Ever"
Last but not least UK producer Matt Hughes already did a funky electro disco remix for Goodvibes Sounds' "Stay For One More Night" on The Sunset Manifesto 2. Looks like the original tune didnt leave his head, so he returned to his studio for new remixes. Here you can find the "Echo" version of his new 80s cinema sounding "Late Night Radio Remix", which would sit well in the soundtrack oft he Stranger Things TV series. The long version of this remix will be relased later digtially.
Tracklist:
A - Joel Sarakula - Hands Of Love (Ben Jamin Remix)
B1 - Kimchii - Do You Ever (Monsieur van Pratt Deep Remix)
B2 - Goodvibes Sound - Stay For One More Night (Matt Hughes' Late Night Radio Remix - Echo)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Genre: NuDisco, Daytime Disco, Indie Disco
TSTD NEO returns with smooth slow disco remixes for three tracks, originally featured on THE SUNSET MANIFESTO Volume 2:
One of the standout tracks of THE SUNSET MANIFESTO 2, the super smooth Westcoast inspired "Hands of Love" gets an even smoother remix treatment by Liverpools BEN JAMIN, perfectly suited for your next late night bar dj sets.
Stockholm meets Mexico City! TSTD resident producer Monsieur Van Pratt returns from remixing Poolside on The Sunset Manifesto 2, and comes back with a romantic slow disco version of Kimchi's "Do You Ever"
Last but not least UK producer Matt Hughes already did a funky electro disco remix for Goodvibes Sounds' "Stay For One More Night" on The Sunset Manifesto 2. Looks like the original tune didnt leave his head, so he returned to his studio for new remixes. Here you can find the "Echo" version of his new 80s cinema sounding "Late Night Radio Remix", which would sit well in the soundtrack oft he Stranger Things TV series. The long version of this remix will be relased later digtially.
Tracklist:
A - Joel Sarakula - Hands Of Love (Ben Jamin Remix)
B1 - Kimchii - Do You Ever (Monsieur van Pratt Deep Remix)
B2 - Goodvibes Sound - Stay For One More Night (Matt Hughes' Late Night Radio Remix - Echo)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Quelza - One Thought Responds To Another
2
Quelza - Argo Voa
3
Quelza - Les Vagues Dansent Avec Les Étoiles
4
Quelza - Above The Clouds I Finally Found Peace
5
Quelza - Nuage En F Mineur
“Above The Clouds I Finally Found Peace, the latest work from French artist Quelza (Leo Naït Aïssa) on Ostgut Ton, feels like a homecoming.
A testament to introspection and self-awareness. Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.
As its title suggests, the record carries a spiritual undercurrent. It stands as a sincere sonic statement from a young artist, driven by a clear intention: to express vulnerability and honesty through sound.
The EP invites the listener to let go of expectations formed by previous releases, while preserving the emotional intensity and distinctive sonic identity that have come to define this work in recent years."
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
A testament to introspection and self-awareness. Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.
As its title suggests, the record carries a spiritual undercurrent. It stands as a sincere sonic statement from a young artist, driven by a clear intention: to express vulnerability and honesty through sound.
The EP invites the listener to let go of expectations formed by previous releases, while preserving the emotional intensity and distinctive sonic identity that have come to define this work in recent years."
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More