Bobbyy
Buckets

This journey started for Flox on the Reunion island, in the lost heights of the Mafate cirque. It is in this area cut of¬ from the world, only accessible by foot, that the English multi-instrumentalist found himself face to face with the thrilling and endless feeling of being lost and in danger once again. A sensation that had faded away through time, weakening the flickering flame of inspiration. Listening only to his instincts, leaving aside past experiences and moving forward freely are the main ingredients of this sixth album Taste Of Grey. An album conditioned by inspiration, each song catching the feeling of the moment and releasing unblemished emotions. At ease with the di¬fferent lines of artistic creation, the multi-talented craftsman once again composed, arranged, played, and recorded Taste Of Grey; a complex mix of organic and digital music balanced between deep Jamaican rhythms and loose funky beats. Breaking down styles to build his own, spending hours reinventing a personal electro vibe that moves back and forth from rap to singing and from darker to lighter landscapes.Rather than the simple choice of black or white, Flox has chosen a path with more subtle shades of grey. A step into the unknown, writing love songs when political issues had mainly been a major theme. Writing about feelings, unclenching fists to come up with an album that tells a full story. You could listen to the album Taste Of Grey in random but this would also change the story line…

Back in 2007, Xavier Boyer, frontman of French indie maestros Tahiti 80, released his first solo LP Tutu To Tango under the “nom de plume” Axe Riverboy. He didn’t think it would take another 10 years for the follow-up but here it is and it was well worth the wait.The title Some/Any/New, his tip of the cap to Todd Rundgren’s Something Anything album, reflects both the atmosphere and the process, Boyer crafted the new set playing everything, save a few overdubs recorded with collaborator Stéphane Laporte, using a laptop, an 8-track tape machine and a few cherished instruments (a groovebox, a guitalele and a casiotone).The album is awash with classic melodies, sweet Odessey & Oracle-esque vocals and the songs have a warm, organic glow, enhanced by some rough edges and little imperfections, happy accidents of the DIY nature of the recordings.Xavier pieced together the album over quite a long period. The songs were written in different places, in different towns and houses. Given all of that, it is perhaps surprising that the finished record is so coherent, light-infused and optimistic. What is supremely evident is Xavier’s ability as a songwriter; here he again delivers a set of gorgeous, contemporary and immediate pop songs. From the exquisite harmonies and frayed electronics of “Cherry Cloud Panic” through to the down-tempo, deliciously melancholic track, “Longing/The International Merry-Go-Round” we are in the company of an artist, confident in his creative ability. This is a highly-enjoyable piece of work - as the man himself says “It’s “like opening a window to the world on a sunny day.”

**** DIZONORD DEADSTOCK ****Dizonord team discovered DJ Moppy’s label Animal Right Records back in 2016 on a Detroit Threads’ shelf. ARR-002 was previously released in 2017, check Larkspur for a luminous and sweet house music track and there are lots more breaks the LP. A concept collaboration album featuring the vocals of Lailah Reich & the production of DJ Moppy... For the flowers & bees & trees...

Livy Ekemezie’s Friday Night is widely recognised by DJs and afro-funk aficionados as a UFO (Unidentified Flying Object) grail record. It is one of those rare dance music albums that sounds like a record of its’ time but also has a timeless quality that makes each listen an immensely rewarding experience.Fueled by teen spirit, every track slaps leaving little or no opportunity to skip. The song concepts circle around sweaty, afropolitan nightly excursions into the nightclubs of Aba, Port Harcourt and Lagos. But they could easily have been the soundtrack to Basquiat and Grace Jones grooving to DJ Larry Levan at Studio 54.Digital Multitrack Sound Production combined with 80s synths and keyboards ushered in a new era. But what made this different is the bombastic but never overbearing "mélange" of slapping, funky bass lines, choppy synths, crazy, carefree vocals contributing to an intense dance-driven musical experience.Livy and his friend Franklin Izuora teamed up with Jules Elong a seasoned keyboardist to create the LP in 1982, Franklin was a student in the US and already the experience of producing an album (Be Nice To The People, 1977, EMI) with the soundmaster, Odion Iruoje in the teenage afro-rock band, Question Mark. This gave Livy the confidence to leave most of the creative direction to him.Livy had completed his secondary school cursus and was waiting to attend college. Jules Elong’s role was to make the record sound professional. The Quincy Jones influence created a reference point, Goddy Oku’s studio, Godiac was the mother ship for this 80s dance music masterpiece.

Magic Source is back with an exclusive 2 tracks single filled with their special rootsy cosmic funky touch.Led by producer & notorious tape operator Björn Wagner (of Mighty Mocambos, Bacao Rhythm & Steel Band and Mocambo Records), the group follows up to the release of their 2nd LP last year, Voyage Spectral. This time again, the German band dives into the Tropical and international aspects of Disco and Funk music, always using 100% organic production and recordings material.On this 2 tracks single, you’ll first find a blazing and unexpected covers of “Voodoo Ray” the classic acid-house track by A Guy Called Gerald, with special vocals by Mounam & Gizelle Smith. Following up to this already dancefloor classic, comes “Interplanetary Bounce”, a new and exclusive composition from the band also tailored to make you move, with its Boogie touch and heavy breaks.