Maureen
Tu Me Tues

Favorite Recordings presents this new single reissue released by SOL Discos, a new sub-label launched as a partnership between Pascal Rioux and DJ Waxist. Following their recent collaboration on projects like Lamar Thomas’ single and Caribbean Disco Boogie Sounds’ compilation reissues, Favorite Recordings offered the French DJ to become the coordinator and A&R of a new imprint aiming to reissue rare and forgotten music with a Tropical and Disco flavor: “Sunshine Music”…Today, SOL Discos is delighted to introduce its very first release, with this official 7" reissue of Hiram & Direct. Initially recorded and released in Detroit (Michigan), it has been a hard to find record since then, with only a little number of known copies floating around and changing hands within the Soul collectors / DJ scene.Musically speaking, the reissue has been switching tracks sides from the original release, putting the focus on “Love Flight” as the A side. Indeed, “Love Flight” has some strong dancefloor potential for any DJ into underground Disco & Modern Soul. Just listen to those synths! On the B side, you will find a different vibe with “Turn It Around”, an excellent ballad with beautiful vocals & harmonies. In the end, both tracks have nothing to envy to some of the best Soul classics.It’s with great pleasure and honors that SOL Discos and Waxist make this little known gem more accessible to today's music’ enthusiasts, through this legit reissue!

After a first edition acclaimed internationally, Favorite Recordings and Charles Maurice finally follows-up to their French Disco Boogie Sounds compilation with a second volume!!Pursuing his fine work at digging rare music from around the world, DJ and collector Charles Maurice presents another brilliant selection of great music linked to France and French West-Indies: 12 hidden and forgotten titles, all produced between 1978 and 1985, whether in France, or by French artists abroad. This time again, he perfectly browse and defines the great energy and quality of this specific Disco/Funk scene at that time, both in the underground market, or through bigger labels.On one hand, tracks by Crystal, Jackie Esam, Ideku Dynasty or Marc Ashy, were produced by small artists and labels from the French Caribbean and African community and also filled with a raw spirit and some Tropical influences. On the other hand, tracks by Claude Morgan, Greg Smaha, Roots, or Black Bells Group, were released by major labels such as Phonogram, RCA, Derby, or Carrere, thanks to confirmed independent producers, acting not only in France, but also in Canada and the US.Today, Favorite Recordings and Charles Maurice are very proud to unearth these 12 gems, with amongst them some very hard to find and almost unknown titles.

Magic Source is a project led by producer Björn Wagner (The Mighty Mocambos, Bacao Rhythm & Steel Band, Mocambo Records), who is renowned for creating an authentic and hard-hitting raw funk sound. Following a few acclaimed single releases on Favorite Recordings over the past few years, the French label deeply wanted to collaborate further with the German combo, for a special and exclusive project bringing their music on new paths. This new project is a step towards a new style: Analog-Electronica, or so called Cosmic-Disco sound.Recorded on a 16-track reel-to-reel tape, EARTHRISING combines raw unedited live band recording, with the refined production aesthetics of the Disco era, including the use of vintage synthesizers, group chants and processed acoustic percussions, for an organic club feeling. While maintaining an un-edited, but highly hypnotic four-on-the-floor groove, Magic Source leaves the old beaten track of cheesy Disco-Pop and overheard Dance classics.The music is an unusual and surprisingly coherent mixture: Earthrising unites rootsy Afro elements (such as almost tribal chants, percussions and a funky rhythm section), with sci-fi score soundscapes (such as ethereal synthesizers, Theremin and space echo and miniature instruments) to an irresistibly grooving beat extravaganza."Cosmic music" was known exclusively in the region of north Italy, Austria, and southern Bavaria until recent. Originally an eclectic DJ mixing style that evolved in the late 70s, it combined Disco, Ethno groove fragments, Electro, Afrobeat, Dub, Italo, Funk and Exotica weirdness to a trancy and danceable turntable symphony.Magic Source creates its very own all-live version of Cosmic. Though you will rarely hear anything similar from any other band, there's hardly an eclectic style that sounds more natural than the wonderful that is Earthrising.

Lamunai Records presents Curiouser and Curiouser, a treasure trove of millennial music era from a duo pop group called Santamonica from Jakarta, Indonesia.The concept of this album is making music from a trip to the adventures of Alice In Wonderland, an eclectic mix of pop, bossanova, electronics, waltz and shoegaze. From Astrud Gilberto and Antonio Jobim, Pizzicato Five meets My Bloody Valentine or Stereolab's 60s sensitivity to Broadcast. A collection of multi-layered analog audio sets, the noise of Joseph Iyup's noisy guitar combined with Anindita's fairy voice melodious lines of strange lyrics wrapped in curling beats, very dynamic, very rich. Listening to the album, on several tracks, we can hear French Pop's acrobatic 5/4 beats until the roar of the wall of sound becomes a combination that is difficult to imagine at the time and is still very relevant to listen to now.Now, for the first time ever, one of the phenomenal albums of the 2000's Indonesia wave is now available in a limited format in 2xLP-Gatefold-Marbled colored vinyl with an additional song that has never been released before.

Over 25 years of digging, and more than 2 years in curation. Nick V’s debut compilation pays homage to forgotten gems of the classic Italian House scene, circa 1991-1993.In the early 1990s, Italy hosted one of the most flourishing scenes in the burgeoning world of House music. Whilst the majority of Europe was only just beginning to digest the arrival of this new musical genre born in the US, Italian clubs, DJs and labels were hot on the heels of their counterparts in the already established scenes of New York and London. The clubs of the Adriatic coast – also known as the Italian Riviera –were full every weekend. The soundtrack was provided by the major US and UK acts from the day but also local resident DJs that had been honing their trade since the early 80s. By the early 90s, Italian House music was regularly exported around the world with labels such as UMM, Zippy, D-Vision, MBG, Flying, Palmares, DFC and Irma releasing tracks inspired by the original New York House and Garage sound, but with a very different, unique and emotional take. Distinct from both Italo-Disco and Italo-House, this was the specific aesthetic that was to become the House sound of the Riviera, the soundtrack of the golden era of Italian House music.Nick V’s compilation on Mona Musique brings together 8 iconic tracks from this specific period, covering the whole spectrum of the riviera sound. From the powerful vocal tracks by Korda and Be Noir to the dubbier cuts by Syncopate and Underground Ghosts, without forgetting of course the characteristic Riviera deepness with tracks from Subway Ground Master, Centric House, Groove Sense and Optik. Artists featured include legendary DJs and producers from the day Ricky Montanari, Alex Neri, Enrico Mantini, MBG and Ivan Iacobucci. The compilation comes in a double gatefold sleeve with liner notes by Nick V illustrated by flyers and photos from the original Riviera days. This is a DJ friendly 45 RPM vinyl only release, all tracks have been remastered with the sound staying true to the dynamics of early 90s production.

The music on this compilation was, for the most part, originally released privately in Geneva in 1988; the Mega Wave Orchestra, the brain-child of musician, mathematician and composer Christian Oestreicher, was conceived as an multi-media electronic music orchestra. The Orchestra created a new hybrid music. It was a music with roots in the jazz and classical traditions, but one which also drew on the sonic freedom of musique concrete and the kind of total experience offered by psychedelia. The diverse backgrounds and specialisms of each of the band members/writers resulted in a wide variety of music: from austere drones and granular aural detail to warm oddball fusion and gorgeous but cracked vocal jazz. But it was Oestreicher’s presence, at both the start and end of the process, that provided a sure conceptual framework and a comprehensive sound world. There are useful contemporary comparisons to be made: zoned synth jazz like the Azimuth LP on ECM or Karin Krog’s Freestyle; Larry Heard’s sequencer dreamtime; the Valium minimalism of Pep Llopis or Jun Fukamaki; Dexter Wansel’s shimmering arrangements for Loose Ends, or even the FM sheen meets cold war threat of Donald Fagen’s Night Fly. Here, too, is the sound of music technology about to snowball and define its own aesthetic, unknowingly prefiguring auteurish bedroom producers like Black Dog or The Detroit Escalator Company.The heart of this music’s appeal lies in Oestreicher’s complex intentions and methodologies. He revels in occupying the unsteady ground between analogue and digital, pushing his players to robotic precision while opportunistically grabbing on to the unpredictable results of computer error. He harks back to communal rigour of big band or orchestra structures, while understanding beautifully that the sounds of the future will not be synthesised imitations of existing instruments but something entirely other. He seizes on the value of resituating or recombining the sounds given to him by his bandmates, twisting them out of shape to create vivid new worlds for the listener to occupy. As a mathematician, he approaches the problem of group music making with a seriousness that results in beauty as a matter of course.