Repress!
collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist:
01. King Version
02. Queen Version
03. Jah Version
04. Troddin Version
05. Mash Down Version
06. Hit You Version
07. Friend Version
08. History Version

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collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist
01. Cornel Campbell - King In My Empire
02. Jennifer Lara - Queen In My Empire
03. Paul St. Hilaire - Jah Rule
04. Shalom - We Been Troddin
05. The Chosen Brothers - Mash Down Babylon
06. Jah Batta - Music Hit You
07. Love Joy - Best Friend
08. The Chosen Brothers - Making History

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Endlessly wide, heavy Ambient/Electronic sound textures

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Unique Ambient Techno pulses


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vocal versions of See Mi Yah riddim w/ Sugar Minott, Willi Williams a.o.

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2nd in a series of remixes with a truly uplifting oldschool house take by Soundhack, Francois K in a Drum 'n' Bass style (!) and a heavy stepper version Substance

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for the first in a series of remix 12"s for last years "See Me Yah" versions album.w/ rmxs by Villalobos, V. Delay & Tikiman

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Volume four of Rhythm & Sound's remix archive delivers heavywieght techno/dub versions from Carl Craig and the Basic Channel crew.

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Guy - Groove Me (Remixed By Kai Alcé & Stefan Ringer)
Flacko - Lonely Town (Remixed by Karizma)
Robert Glasper - Enoch's House (Remixed by DJ Kemit)


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A classic white label that has been out-of-print and hard-to-find for many years is now remastered and reissued with an all-new B side from edit maestro Mr. K. The original release is coveted not only for the quality of the edit but also for the beautiful sonics on the vinyl itself. The sound quality of the vintage release has been meticulously recreated on this new edition.

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Arguably the best and most rare mix/edit of the late ROMANTHONY's classic crowd pleasing "LET ME SHOW YOU LOVE" gets reissued and remastered on this limited edition 1-sided 12". BUZZIN CUZZINS featuring ROMANTHONY exclusive! HOUSE
Tracklisting: A. Let Me Show You Love (Quick Dub & Crooklyn Mix)

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Super Disco compiles 4 re-edits. Techno Twins 118bpm, Eddy Grant Sunshine 120bpm, Mighty Pope 122bpm, Myele-Black Line 107bpm


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One of the hottest tracks on the white Isle limited vinyl pressing get in fast!

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Classic classic classic NYC garage pressure from 1993 here courtesy of George Morel, "Let's Groove" is a true anthem, a sure shot party starter that crossed over into many scenes getting spins from all the big hitters in the USA, the UK garage dons and discerning European house heads alike. This repress boasts two brand new 2014 mixes, one from George himself that strips the OG right back to basics and one from newcomer Steve Nash who updates "Let's Groove" giving it a more contemporary feel.


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reissue!

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In 2013 bootshonk was the white label release spurred by the calls from DC10’s dance floor. This time around bootshonk steps ahead of the game and pre-empts two of this summer’s sure-fire underground DJ weapons. Troubled Times brings high energy tribal drumming, simple and stripped back to ultimate rhythmic effect. Patiently building up with claps before sliding into a moment of surrealist vocal samples, for a woozy, trippy vibe. With Stamper Square the mood shifts deeper, delving into the late night mystery and a new level of dance floor entrancement.


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White label promo edition of the new Primal Scream single, featuringthe Original & that remix & Dub from original Screamadelica button pusher and national treasure, Andrew Weatherall These are official promo copies from the label, preceeding the full release. First come, first served !


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A1. BARRY & MARVIN A2. STIFF RICHARD B1. MAD ABOUT YA B2. MA FOOM GAY

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This is the debut track from a young London based producer, inspired after a particularly intense Kerri Chandler set. He explains the origins of this track in his own words:"I actually went to the Kerri Chandler night a while ago at Plan B, where he played all night and the atmosphere in there was incredible. Needless to say, he utterly smashed it. I was coming home from work on the train a few days later and literally managed to get the main riff down in about 40 minutes and finished it off that weekend. It was a really quick track to write, probably about 6 hours in total but I guess I was super inspired." Paul Woolford played the track on Space Terrace during the summer and it was the final house track played at We Love Sundays this season. limited edition white label release.

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Khadim is a stunning reconfiguration of the Ndagga Rhythm Force sound. The instrumentation is radically pared down. The guitar is gone; the concatenation of sabars; the drum-kit. Each of the four tracks hones in on just one or two drummers; otherwise the sole recorded element is the singing; everything else is programmed. Synths are dialogically locked into the drumming. Tellingly, Ernestus has reached for his beloved Prophet-5, a signature go-to since Basic Channel days, thirty years ago. Texturally, the sound is more dubwise; prickling with effects. There is a new spaciousness, announced at the start by the ambient sounds of Dakar street-life. At the microphone, Mbene Diatta Seck revels in this new openness: mbalax diva, she feelingly turns each of the four songs into a discrete dramatic episode, using different sets of rhetorical techniques. The music throughout is taut, grooving, complex, like before; but more volatile, intuitive and reaching, with turbulent emotional and spiritual expressivity.

Not that Khadim represents any kind of break. Its transformativeness is rooted in the hundreds upon hundreds of hours the Rhythm Force has played together. Nearly a decade has passed since Yermande, the unit's previous album. Every year throughout that period — barring lockdowns — the group has toured extensively, in Europe, the US, and Japan. With improvisation at the core of its music-making, each performance has been evolutionary, as it turns out heading towards Khadim. “I didn’t want to simply continue with the same formula," says Ernestus. “I preferred to wait for a new approach. Playing live so many times, I wanted to capture some of the energy and freedom of those performances.” Though several members of the touring ensemble sit out this recording — sabar drummers, kit-drummer, synth-player — their presence abides in the structure and swing of the music here.

Lamp Fall is a homage to Cheikh Ibra Fall, founder of the Baye Fall spiritual community. The mosque in the city of Touba is known as Lamp Fall, because the main tower resembles a lantern. Soy duggu Touba, moom guey séen / When you enter Touba, he is the one who greets you. After a swift, incantatory start Mbene sings with reflective seriousness. Her voice swirls with reverb, over a tight, funky, propulsive interplay between synth and drums, threaded with one-two jabs of bass. Cheikh Ibra Fall mi may way, mo diayndiou ré, la mu jëndé ko taalibe... Cheikh Ibra Fall amo morome, aboridial / Cheikh Ibra Fall shows the way forward, he gives us strength, he gathers his disciples... Overflowing with grace, Cheikh Ibra Fall has no equal.

Interwoven with Wolof proverbs, Dieuw Bakhul is a recriminatory song about treachery, lies, and back-biting. Over moody, roiling synths and ominous, lean bass, Mbene throws out fluttering scraps of vocal, as if re-running old conversations in her head. The music shadows her despair to the verge of breakdown, at one moment seemingly so lost in thought and memories, that it threatens to disintegrate. Bayilene di wor seen xarit ak seen an da ndo... Dieuw bakhul, dieuw ñaw na / Stop judging your friends and companions... A lie is no good, a lie is ugly.

Khadim is a show-stopper; currently the centrepiece of Ndagga Rhythm Force live performances. The song is dedicated to Cheikh Ahmadou Bamba, aka Khadim, founder of the Mouride Sufi order. Serigne Bamba mi may wayeu / Serigne Bamba is the one who makes me sing. The verses name-check revered members of his family and brotherhood, like Sokhna Diarra, Mame Thierno, and Serigne Bara. Though Islam has been practised in Senegal for a millennium, it wasn’t until the start of the twentieth century that it began to thoroughly permeate ordinary Senegalese society, hand-in-hand with anti-colonialism. The verses here recall Bamba’s banishment by the French to Gabon, and later to Mauritania, in those foundational times. During exile, his captors once introduced a lion to his cell: gaïnde gua waf, dieba lu ci Cheikhoul Khadim / the lion doesn’t budge, it gives itself over to Cheikh Khadim. Deep, surging bass, steady kick-drum, and simple, reverbed chords on the off-beat lend the feel and impetus of steppers reggae. A reed plays snatches of a traditional Baye Fall melody; the dazzling polyrhythmic drumming is by Serigne Mamoune Seck. Mbene compellingly blends percussive vocalese, narrative suspense, exultant praise, introspection, and grievance.

Nimzat is a devotional tribute to Cheikh Sadbou, a contemporary of Bamba, buried in a mausoleum in Nizmat, in southern Mauritania. Way nala, kagne nala... souma danana fata dale / I call upon you and wonder about you... If I am overwhelmed, come to my aid. The town holds special significance for Khadr Sufism. An annual pilgrimage there is conducted to this day. The rhythm is buoyantly funky; the mood is sombre, reined-in, foreboding. Punctuated by peals of thunder, Mbene sings with restrained, intense reverence; huskily confidential, steadfast. Nanu dem ba Nimzat, dé ba sali khina / Let us go to Nimzat, to seal our devotion.

Mbene Diatta Seck: vocals.
Bada Seck: bougarabou, thiol, mbeung mbeung bal, tungune.
Serigne Mamoune Seck: bougarabou, khine, mbeung mbeung, tungune.
Text by Mark Ainley (Honest Jons).
Mastered by Rashad Becker.
Everything else by Mark Ernestus.

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A collaboration between THE FUNKIN' MACHINE and Chicago's STARCREATURE RECORDS. This 6 track LP features full color art and cuts from cosmic disco to mediterranean boogie. THE FUNKIN' MACHINE specializes in sparkling and groovy funky sounds from the slopes of Vesuvius.

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This one was an unexpected treat. Two of our favourite contemporary musicians, Finn Rees & SHOLTO coming together and collaborating on a double dose of celestial, cinematic alchemy.

At Mr Bongo we are massive admirers of drummer, musician, and producer SHOLTO (Oscar Robertson). His two albums on Funk Night Records and DeepMatter Records, had both been highlights of their respective years. We’d gotten to know Oscar and sent him a few records. Included in the package was Australian pianist-composer Finn Rees’ debut album, Dawn Is A Melody, which was one of our favourite releases on Mr Bongo in 2024.

In Oscar's words 'For me it was a standout modern jazz record - encapsulating a spiritual / hazy dreamy soundscape which hugely resonated with me. Glissando keys and harp with lush melodies, I was instantly intrigued.”

The pair started following each other online and as luck would have it, Finn was staying in London for the summer season, so they arranged to meet. The pair instantly clicked and said it felt like they'd known each other for years. After 40 minutes of chatting, they started to jam.

'Love In Memory' and 'Bluebell' were recorded over two days - a track a day in Oscar's SFJ studios. Laid down on mostly analogue equipment, the pair utilised Wurlitzer’s, mellotrons, and ribbon mics through Oscar’s ‘70s Studer desk. Composed and crafted without any real intentions, other than a shared appreciation for the same style of music and approach, the tracks started to take shape. The results were as lush, nostalgic and textured as you’d expect from these two brilliant musicians, with a classical feel inspired by artists such as Piero Piccioni, Piero Umiliani, and Henry Mancini.

For the beautiful string arrangements, the pair recruited the talents of Sholto's long-time friend and collaborator Clementine Brown (Penguin Cafe Orchestra) and Matthew Hayes of 30/70, Allysha Joy, Xpress Point, Zeitgeist Freedom Energy Exchange fame, was brought in to play bass on 'Bluebell'.

So here we have it, a chance collaborative project built on two musicians' mutual respect for each other's outputs. The result is truly breathtaking.

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Long overdue reissue of these classic Quadrant tracks that originally saw the light of day on the Planet E label back in 1993. Not as dubby as some of the later BC releases, but still with that world-renowned BC feel all over both these tracks, but with more of an upbeat house flavor. No BC collection should be without these 2 cuts, that's for sure.

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