2xLP

BBE presents the long awaited reissue of Raw Movements / Rude Movements from SunPalace.Way back in 1981, two musicians got together to make a record. Mike Collins played guitar and had just bought a Roland CR78 - the first programmable drum machine. Keith O'Connell played Fender Rhodes piano and Prophet 5 synthesizer. Excited about the quirky and unusual instrumental track they'd composed, when the duo entered London's Utopia Studios to finish off their creation, neither could have predicted what was to follow… Now viewed by many as one of the most influential early electronic dance records, 'Rude Movements' was swiftly picked up on by David Mancuso, who used it to devastating effect at his infamous 'Loft Parties', in turn introducing it to Larry Levan, Frankie Knuckles, David Morales and Kenny Dope, a group of young DJs who would go on to write the blueprint for dance music as we know it.In the more than 35 years since its release, 'Rude Movements' has continued to inspire and excite, sampled by The Bucketheads' classic House track 'Whew!' (featured on recent BBE compilation '20 years of Henry Street Records') and listed by a veritable 'who's who' of dance music's elite as an all-time favourite. Rare and much sought-after on vinyl, BBE are happy to announce the release of a fully remastered version of 'Rude Movements' presented alongside the original demo version 'Raw Movements', plus three other versions of the iconic track. Also included on the vinyl package are the Afrika Bambaata inspired 'Street Beat' and 808/MiniMoog workout 'Palace Strut', as well as three other 80s SunPalace compositions. CD and digital versions expand the catalogue still further, with more experimental SunPalace magic. Timeless original, quirky and unique, these recordings are set to inspire yet another generation of DJs, producers and music fans.- Full press , radio & social media campaign- Contains previously unreleased recordings- Artist Mike Collins will be available for interviews- Artwork contains detailed liner notes written by the artist himself

Danish producer Uffe Christensen returns to Tartelet Records with his second LP 'No!', a deeply personal LP to follow 2015's unanimously unfuckwithable debut 'Radio Days'.Every bit as abundant as his first, it's a record that scales polyrhythmic percussion, improvised jazz, & billowing ballads. This, that and so much more, it's a triumph of one man's instinctive ear –– and should be consumed in one sitting.A year after his dynamic debut 'Radio Days', Uffe resurfaces on Tartelet with a record cut in the same spirit as the last: a borderless approach to music-making with organic instrumentation at its heart. Genres collide peaceably ––off-beat soul with jazz, hip-hop with the heft of house–– and are melded smooth with an earthy warmth. Like nearly all at camp Tartelet, he's a producer who is more interested in cutting loose than playing to the tune of dominant modes in dance music. In that, his album's title is instructive: a 'no' to the tyranny of trends, to slavish Facebook likes, to creative compromise. Beyond the babble of fleeting fads, Uffe enjoys his place on the perimeter –– an outlier searching critically for something closer to a timeless groove.Uffe has all of the intuition of the self-taught instrumentalist, following his ear into unexpected rhythmic and tonal combinations. It's what gives the album its urgent appeal: the sound of tentative experiments being made live, of sequences improvised amongst friends. Far from a churn of simple floor fodder, the album is a journey through a consummate narrative. Shy guitar interlude 'Fridge Magnet Radio Theme' feels its way out of the warbling jazz breakdown in 'Lesser Known Values'. 'The Fact', an unexpected vocal ballad, follows the broken beat of 'Solo, So Loud'. With the record's pleading closer 'From Me', it's a story with a start, middle, and end. A long player as long players should be.As Tartelet continue their run of consistently solid EPs & 12"s, it's still these album moments that remain the best gateways into the label's distinctive sound. Alongside Max Graef's debut 'Rivers of the Red Planet' and Glenn Astro's 'Throwback', Uffe's 'No' is a mirror to the Tartelet spirit and sits amongst the imprint's best. For lovers of the true album –– the full-length proper, the one-take listen –– this one's for you.

Digging duo Kon & Amir occupy a select corner of the DJ world, with radio, mix-CDs, live sets and compilations on their radar. Theirs is a slowly-but-steadily growing catlogue crammed with timeless releases: six volumes of their widely celebrated On Track mixtape series, a highly regarded compilation The Cleaning (2004), a breaks-heavy instalment called Kings of Digging (2006) with DJ Muro from Japan and now the third volume of five in their Off Track series for BBE. Not to mention tours spanning the US, Europe and Far East taking in appearances at clubs, festivals and weekenders, in addition they have a strong affiliation with record diggers' bible 'Wax Poetics', and have just completed an 18-month residency of their own monthly show on online music 'zine Spine Magazine's radio station.Off Track III finds the New York/Boston-based pair shining light on another diverse array of underexposed vinyl. The eclectic African disco and soul cuts Amir highlights on his disc are Americanized by style but inherently authentic in feel, demonstrating the very best of the region's dance music from the period following Fela Kuti's mid-70s creative peak. Some standouts: Tee Mac's 1980’s insistently catchy 'Living Everyday', Effi Duke's percussive materpiece 'The Time Is Come', and Christy Essien's glorious 'You Can't Change', which features famed bandleader Geraldo Pino's Show Train outfit. Also in the mix are a couple of cuts from unsung Nigerian star Dizzy K. Falola aimed at sophisticated dancefloors.Kon's disc opens with an extended edit of Donny McCullough's 'From The Heart' from a pricey 1981 album. Rudolph Baker's little known album track 'Getting Next To You' is a floor-filling anthem in the waiting. Edge of Daybreak were a prison band whose punchy title track from their rare Eyes Of Love album provides a solid argument for subsidizing more music programs behind bars. 'Tin Top' is another cut with a Kon edit, but Kenny Mann & Liquid Pleasure are the antithesis of mysterious indy-label group, the veterans performing to this day and maintaining a comprehensive website loaded with videos and resumes.

'Yes Lawd!', the much anticipated debut album from NxWorries (pronounced "no worries") is coming October 21 on Stones Throw Records. On Yes Lawd!, Anderson .Paak plays a theatrically brash version of himself who raps and sings like a '70s superstar and talks shit like a stone cold player. The performance is seeded with details from his life, which has seen a fair share of struggle and hard-won triumph. Meanwhile Knxwledge weaves a tapestry of sampled bits and live fragments - bass, brass and violin - that smooths everything over, reminding us that despite whatever struggle it took to get here... well, you already know the name: NxWorries.

Packed full of cinematic textures, plaintive vocals and dusty house grooves, The Last Raw Era is the stunning debut album from Hollis Parker: a vinyl-only love-letter to New York City that harks back to bygone days of US house music.House music albums can be tricky to pull off. More often than not they are little more than a hastily thrown-together collection of club tracks, lacking the cohesion or narrative themes that mark a truly timeless body of work. Hollis Parker's debut is one of the few of recent memory that bucks this trend, applying a hip-hop production aesthetic to an album with house music at its core, creating an immersive listening experience over the course of 10 deeply emotive tracks.The Last Raw Era is themed around two distinct love stories: that evolving relationship between two fictional characters, and the entirely real emotion Hollis wears on his sleeve about New York, calling it the foundation upon which I'm built. A hazy melancholy informs much of the album's tone, with obscure samples dusted off and given a new lease of life in songs that evoke the languid production of Moomin as much as the raw house cuts of the early US masters.Crafted in the old-school style, Hollis took a turntable, a couple of samplers and a stack of vinyl records and got to work, creating a musical tapestry from instrumental samples, snatches of movie dialogue and heartfelt vocals. The result is both familiar and absolutely unique, with Hollis looking to the past to produce something refreshingly free of clichéd house tropes.This album is basically a culmination of everything I've done musically up until now says Hollis from the techniques and musicianship I learned to the equipment I figured out how to use, the different genres I've created: it all comes together on this album. It's a love story that's also about a city, specifically a city that I got to know before the internet and social media, back in the 90s, or what I like to call the last raw era.From the simultaneously heart-breaking and uplifting 4/4 bounce of What You've Done to the dreamlike drifting of Central Park Love, The Last Raw Era contains individual tracks that are without question some of the most beautiful of the year. But this is an album that needs to be listened to in its entirety to be fully appreciated: a timeless gem with the power to take you to another place.