Shawn Lees Ping Pong Orchestra feat. Nino Mochella - Kiss The Sky Ubiquity Records 2010-04-22 | Download, Buy, Stream: Download, Buy, Stream: fanlink.to/vociesandchoicesShawn Lee's Ping Pong Orchestra featuring Nino Moschella "Kiss The Sky". Off Shawn Lee's "Voices and Choices" album on Ubiquity Records. Available on iTunes at: http://itunes.apple.com/us/album/voic... - This track has been featured on several TV shows including "Eastbound and Down", commercials for ESPN and New Balance and most recently featured in the Trailer for George Clooney's upcoming film "The Monuments Men".
Chapis - Ride Or Die (Official Video) Ubiquity Records 2024-10-09 | WHO'S YOUR RIDE OR DIE?The official music video from Chapis' new single "Ride Or Die"Listen to Ride Or Die:open.spotify.com/track/4mUJAir5Fc3L5DGVX4DxIf?si=66aeff2c98ce41cfDirected by: Anna DayEdited by: Leslie ReneCinematography by: Daniel OronaArt Director: Moises CarranzaArt Assistant: Wendy Reyes1st AC: Julian RossGaffer: Devin ConnerStylist: London GuzmanStylist Assistant: Amber NegreteStarring:Cuauhtemoc Molina (Chapis)Jennifer JaureguiMiguel PartidaEmmanuel Pedroza Anthony BevilleBryan BakerKennedy Hollows Follow CHAPIS:instagram.com/chapisdude/?hl=entiktok.com/@chapisdudehttps://linktr.ee/chapisdudeopen.spotify.com/artist/64SLvs72e0RkE4sKFFFKd3?si=QK4lFnTkSzmIfkfK9Bz3qw#Chapis #rideordie #indie #rock #officialvideo #officialmusicvideo
EE001 | Rush Hour mix at Eclectic Electric Ubiquity Records 2024-09-20 | Rush Hour cooks up a mixed bag for the new Ubiquity event series, Eclectic Electric.September 7th, 2024Eclectic Electric: bringing underground California DJ's and their communities together once a month at Vacation Bar, Santa Ana. But mostly, it's a party.Stream this set: soundcloud.com/ubiquityrecords/rush-hour-eclectic-electric-1Want to come dance with us? Stay in the loop for future events: instagram.com/ubiquityrecords#EclectricElectric #ubiquity
EE001 | Pocari G at Eclectic Electric Ubiquity Records 2024-09-18 | Pocari G delivers a thumping mix for the new Ubiquity Records event series, Eclectic Electric.September 7th, 2024Eclectic Electric: bringing underground California DJ's and their communities together once a month at Vacation Bar, Santa Ana. But mostly, it's a party.Stream this set: soundcloud.com/ubiquityrecords/pocari-g-eclectic-electric-1Want to come dance with us? Stay in the loop for future events: instagram.com/ubiquityrecords#EclectricElectric #ubiquity
EE001 | Bump & Ugly mix at Eclectic Electric Ubiquity Records 2024-09-18 | Uncle Ray from Bump & Ugly delivers a funky mix for the new Ubiquity event series, Eclectic Electric.September 7th, 2024Eclectic Electric: bringing underground California DJ's and their communities together once a month at Vacation Bar, Santa Ana. But mostly, it's a party.Stream this set: soundcloud.com/ubiquityrecords/uncle-ray-eclectic-electric-1Want to come dance with us? Stay in the loop for future events: instagram.com/ubiquityrecords#EclectricElectric #ubiquity
Oswald Moris - Heat Haze Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/drugsongheathaze “Back in 2020 when the pandemic evaporated my touring schedule as a DJ, a couple of friends invited me to spend some time at their home studio. My focus at that time was on 70’s and 80’s Library Music (making edits and remixes at home), so we took that catalogue as a starting point to jam and record some of our own interpretations.” During these sessions two songs took center stage, providing arrangements that suited the instruments at hand. Deconstructing the originals and rearranging them gave space for further experimentation and improvisation. “As a Belgian fan of ‘rare grooves’ it’s hard to miss Janko Nilovic. He worked on numerous records that were recorded in our country. His Soul Impressions-LP is probably one of the first Library records I’ve ever listened to, and it still holds a special place in my collection today. If you combine all of this with my love for flute-solos, the choice for Drug Song was almost inevitable.” It’s not the first time Janko and Oswald’s paths cross: the maestro once provided a guest selection for a Brokers-show. “The second tune had to come from the mighty KPM catalogue. I think I’m not exaggerating if I say their ‘greensleeves’ are the most iconic series of Library records out there. Top notch productions by the best in the game: Hawkshaw, Bennett, Mansfield, … I even married to a Mansfield-track, just to give you an idea.” Where Drug Song leans heavy on funky guitar and flute, the flipside of this release brings a more atmospheric take on the genre. “Since we had a lot of keys in the studio, we picked this John Cameron composition to explore more of that realm. The smooth arrangement of Heat Haze had us vibing for days and brought a perfect counterbalance to the raw qualities of Drug Song. Pure bliss!”
Oswald Moris - Drug Song Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/drugsongheathaze “Back in 2020 when the pandemic evaporated my touring schedule as a DJ, a couple of friends invited me to spend some time at their home studio. My focus at that time was on 70’s and 80’s Library Music (making edits and remixes at home), so we took that catalogue as a starting point to jam and record some of our own interpretations.” During these sessions two songs took center stage, providing arrangements that suited the instruments at hand. Deconstructing the originals and rearranging them gave space for further experimentation and improvisation. “As a Belgian fan of ‘rare grooves’ it’s hard to miss Janko Nilovic. He worked on numerous records that were recorded in our country. His Soul Impressions-LP is probably one of the first Library records I’ve ever listened to, and it still holds a special place in my collection today. If you combine all of this with my love for flute-solos, the choice for Drug Song was almost inevitable.” It’s not the first time Janko and Oswald’s paths cross: the maestro once provided a guest selection for a Brokers-show. “The second tune had to come from the mighty KPM catalogue. I think I’m not exaggerating if I say their ‘greensleeves’ are the most iconic series of Library records out there. Top notch productions by the best in the game: Hawkshaw, Bennett, Mansfield, … I even married to a Mansfield-track, just to give you an idea.” Where Drug Song leans heavy on funky guitar and flute, the flipside of this release brings a more atmospheric take on the genre. “Since we had a lot of keys in the studio, we picked this John Cameron composition to explore more of that realm. The smooth arrangement of Heat Haze had us vibing for days and brought a perfect counterbalance to the raw qualities of Drug Song. Pure bliss!”
Reuben Vaun Smith - Beams Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - Help Me Ride Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - No Puedo Esperar Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - Milano Caravan Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - Mintaka Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - Mali Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - The Waxing Gibbous Moon Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - Oumbadougou. Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - Mama Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Reuben Vaun Smith - Da Cuckoo YaYa Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/dacuckooyaya Since he made his debut three years ago with sun-soaked first album Warm Nights, Reuben Vaun Smith has grown and evolved as an artist. His aims, objectives and musical output have changed, too – something that’s evident from the opening bars of his third full-length, Da Cuckoo Ya Ya, which also marks his first appearance on Californian institution Ubiquity Records. Whereas the summery and colourful Warm Nights was the result of time spent teaching himself music and production, not to mention over a year of daily recording, Da Cuckoo Ya Ya was recorded in less than two months. It not only showcases Smith’s sharpened musicianship and his growing love of Eastern exoticism and wide-eyed psychedelia, but also features guest spots from friends (and fellow Leeds locals) Sakura Murakami (a guitarist who also featured on 2021’s Sounds From The Workshop album), bassist Nial Deravairere (on deliciously dubbed-out and hazy closing cut ‘Beams’) and vocalist Lucy Saddler. While it shares some sonic similarities with its predecessors – not least a greater reliance on live instrumentation and plenty of audible nods towards Malian musical culture – Smith’s new set is his most confident and dynamic yet, with the Leeds-based producer consciously moving closer to the dancefloor whilst polishing his productions further and showcasing all he’s learned to date. Smith sets the tone with funky and flash-fried opener ‘Da Cuckoo Ya Ya’, a superbly summer-ready statement of intent rich in flanged psych-funk guitar licks, vintage synth riffs and loose-limbed drums, before subtly doffing a cap to highlife on the peak-time-ready dancefloor celebration of ‘Mama’. By the time ‘Oumbadougou’ settles in to its stride in a wave of effects-laden guitars, polyrhythmic breakbeats, lilting violin lines and dusky early evening textures, you’ll be hooked. The album is peppered with smile-inducing highlights, from the kaleidoscopic nu-disco/Afro-disco fusion of bona fide dancefloor jam ‘The Waxing Gibbous Moon’, the synth-sporting gorgeousness of ‘Mali’ and the explosion of keys solos, psych guitars and nods to Middle Eastern musical culture that is driving club cut ‘Milano Caravan’, to the hot-stepping, piano-sporting bounce of ‘No Puedo Esperar’ and the immersive, percussive and vividly colourful ‘Help Me Ride’. Then there’s triumphant closing cut ‘Beams’, a chugging, Afro-cosmic masterpiece of the sort more often associated with Daniele Baldelli and Marco Dionigi. There’s no needlessly clever concept here, just ten killer cuts, expertly imagined and executed, that perfectly encapsulate the evolution and quality of Reuben Vaun Smith’s attractive trademark sound. It’s the sound of an artist who is not only comfortable in his sonic skin, but also laying the foundations of a long and fruitful musical career.
Gloria Ann Taylor – Be Worthy (Flying Mojito Bros Refrito) Dub Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/beworthyrefritos Cult sensation Gloria Ann Taylor, who in the early 1970s laid the groundwork for much of disco, R&B, and modern soul as we know it, sees her posthumous release 'Be Worthy' reimagined by renowned producers Flying Mojito Bros into a euphoric, gospel-piano-house-esque West Coast disco cruiser. "What an honor it is to have been invited to remix the work of such an important and innovative heritage artist" say the duo. "We wish we'd have had the opportunity to chat with and learn from Gloria herself. This remix is our small contribution and dedication to a towering musical legacy of talent, guts and pioneering genre-crossing. Viva Gloria!" The record looks as good as it sounds too, with Flying Mojito Bros art-directing a colorful and cosmic reimagining of the original cover via illustration wizard Nick Potts, reflecting the bros’ transplantation of Gloria's soul diva spirit into their own southwestern desertscape dreamworld. A string of popular releases already in 2023 adds further momentum to Flying Mojito Bros' continued rise. Collaborating with honey-bear soul supremo James Alexander Bright, 'Mirage In The Mojave' is an album of reworks on !K7 Records that elevates tracks from the multi-hyphenate artist's back catalog into vibrant disco-chug territory, FMB-style. A sold-out chunky 10" swiftly followed on much-adored imprint Too Slow To Disco, featuring well-received re-edits of Jorge Santana (brother to Carlos) and the Grateful Dead. Look out for more from Flying Mojito Bros on Ubiquity Records in the near future.
Gloria Ann Taylor – Be Worthy (Flying Mojito Bros Refrito) Radio Edit Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/beworthyrefritos Cult sensation Gloria Ann Taylor, who in the early 1970s laid the groundwork for much of disco, R&B, and modern soul as we know it, sees her posthumous release 'Be Worthy' reimagined by renowned producers Flying Mojito Bros into a euphoric, gospel-piano-house-esque West Coast disco cruiser. "What an honor it is to have been invited to remix the work of such an important and innovative heritage artist" say the duo. "We wish we'd have had the opportunity to chat with and learn from Gloria herself. This remix is our small contribution and dedication to a towering musical legacy of talent, guts and pioneering genre-crossing. Viva Gloria!" The record looks as good as it sounds too, with Flying Mojito Bros art-directing a colorful and cosmic reimagining of the original cover via illustration wizard Nick Potts, reflecting the bros’ transplantation of Gloria's soul diva spirit into their own southwestern desertscape dreamworld. A string of popular releases already in 2023 adds further momentum to Flying Mojito Bros' continued rise. Collaborating with honey-bear soul supremo James Alexander Bright, 'Mirage In The Mojave' is an album of reworks on !K7 Records that elevates tracks from the multi-hyphenate artist's back catalog into vibrant disco-chug territory, FMB-style. A sold-out chunky 10" swiftly followed on much-adored imprint Too Slow To Disco, featuring well-received re-edits of Jorge Santana (brother to Carlos) and the Grateful Dead. Look out for more from Flying Mojito Bros on Ubiquity Records in the near future.
Gloria Ann Taylor – Be Worthy (Flying Mojito Bros Refrito) Ubiquity Records 2024-02-21 | Buy, Download, Stream - fanlink.to/beworthyrefritos Cult sensation Gloria Ann Taylor, who in the early 1970s laid the groundwork for much of disco, R&B, and modern soul as we know it, sees her posthumous release 'Be Worthy' reimagined by renowned producers Flying Mojito Bros into a euphoric, gospel-piano-house-esque West Coast disco cruiser. "What an honor it is to have been invited to remix the work of such an important and innovative heritage artist" say the duo. "We wish we'd have had the opportunity to chat with and learn from Gloria herself. This remix is our small contribution and dedication to a towering musical legacy of talent, guts and pioneering genre-crossing. Viva Gloria!" The record looks as good as it sounds too, with Flying Mojito Bros art-directing a colorful and cosmic reimagining of the original cover via illustration wizard Nick Potts, reflecting the bros’ transplantation of Gloria's soul diva spirit into their own southwestern desertscape dreamworld. A string of popular releases already in 2023 adds further momentum to Flying Mojito Bros' continued rise. Collaborating with honey-bear soul supremo James Alexander Bright, 'Mirage In The Mojave' is an album of reworks on !K7 Records that elevates tracks from the multi-hyphenate artist's back catalog into vibrant disco-chug territory, FMB-style. A sold-out chunky 10" swiftly followed on much-adored imprint Too Slow To Disco, featuring well-received re-edits of Jorge Santana (brother to Carlos) and the Grateful Dead. Look out for more from Flying Mojito Bros on Ubiquity Records in the near future.
Tigerbalm - Riad De Lister feat. Nina Miranda (Trepanado Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - Cocktail DAmore (Mushrooms Project Mix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - Riad De Lister (Emperor Machines Special Extended Vocal Mix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - Cosmic Camel (Mystic Jungle Desert Version) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - Tokyo Business (Tulshi Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - Cocktail DAmore (Session Victim Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - Tokyo Business (Daniele Baldelli & Marco Dionigi Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - La Brisa (Isaac Soto Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - Cosmic Camel (Chico Mann Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Tigerbalm - Bahia Escapista (Le Rubriques Dirty Boogie Mix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/internationalloveaffairremixes Since its release in November, Rose Robinson’s first album as Tigerbalm, International Love Affair, has received plenty of plaudits from critics and listeners alike. We’re not surprised, because the album’s unique, retro-futurist blend of global grooves, indigenous instrumentation, female vocals, heavy percussion and nods to a variety of past, present and future dancefloor styles is a bold and brilliant statement from the London-based DJ, producer and multi-instrumentalist. Given Robinson’s own roots in club culture – before turning her hand to production as part of now dormant duo Earthboogie, she was (and remains) a popular DJ in her home city and far beyond – it seems fitting that the album has been given a dancefloor-focused makeover. After completing the album in early 2022, Robinson reached out to producers whose work she loves – some friends, others like-minded individuals – and asked them to deliver reworks of cuts from the set. The Result is the brilliant International Love Affair Remixes collection, which lands in May 2023 on vinyl (2LP) and digital formats – the latter with a clutch of additional mixes not featured on wax. Fittingly, the showcased remixes touch on a variety of styles (all frequently found in Robinson’s record bag), but all make extensive use of International Love Affair’s original instrumentation. The results are frequently stunning, from Le Rubrique’s Clavinet-heavy ‘dirty boogie’ rub of the Brazilian-tinged ‘Bahia Escapita’ (which also boasts vocals from a very special secret guest), and Isaac Soto’s pleasingly spaced-out, mind-altering mix of ‘La Brisa’ (where creepy, echo-laden instrumentation, dubbed-out chants and rolling tribal percussion catch the year), to the percussive deep house warmth of Session Victim’s album-opening re-wire of ‘Cocktail D’Amore’ and Tulshi’s woozy, tech-tinged, early morning house revision of ‘Tokyo Business’. Robinson’s love of Italy’s Afro-cosmic, psychedelic nu-disco and 21st century jazz-funk scenes led her to the door of a quartet of inspired artists from the Mediterranean nation. Legends Daniele Baldelli and Marco Dionigi deliver a squelchy, warming, sunrise-ready take on ‘Tokyo Business’ that’s arguably best described as “cosmic ethno-disco”, while Leng regulars Mushroom Projects brilliantly re-imagine ‘Cocktail D’Amore’ is an ultra-atmospheric, undeniably immersive mid-tempo soundscape full of psychedelic noises, tropical touches and rolling tribal drums. As for Napoli-based Mystic Jungle’s ‘Desert Mix’ of ‘Cosmic Camel’, we’ll let you work out how best to describe it – jaunty jazz-funk pop with all-new soul vocals is the best we can do! The fun continues elsewhere across the album, with Chico Mann’s deliciously sparse, groovy dub disco-goes-proto-house re-imagining of ‘Cosmic Camel’ and Trepanado’s thick-set, bass-heavy sprint through ‘Riad De Lister’ naturally hitting the spot. Robinson’s friend Andy Meecham also dons his Emperor Machine alias to remix the latter track, turning in a trio of pleasingly epic reworks that recall the spaced-out proto-house sparseness of his work with Dean Meredith as Chicken Lips. His vocal take features on the vinyl version, with two bonus instrumental mixes (think New York proto-house dubs from the mid-80s, and you’re close) featuring on the digital edition alongside atmospheric, off-kilter peak-time takes on ‘Tokyo Business’ by Bustin’ Loose and Inca Jones. It all adds up to an inspired set of alternate versions and remixes that add even more dancefloor weight and pressure to Robinson’s original Tigerbalm tracks. In other words, as remix albums go it’s defiantly on-point.
Super Yamba Band - Bad Dog Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/lastleap With an adventurous and daring take on instrumental afrobeat, Super Yamba Band’s Last Leap EP takes listeners back to 2014, the band’s formative year. “We had just moved to Brooklyn—Walter, Sean, Evan, and I,” said Daniel Yount, the band’s founder and drummer, “and our only plan for ‘making it’ was to just play as much music together as possible.” Finally released from the Yamba archives, the Last Leap EP is a sonic timestamp of the band’s creative energy during those very special first days in New York City. “We were excited, inspired—and probably a little overwhelmed. We wanted to record a few of our tunes so that we could have something for the clubs to listen to as we were trying to book gigs,” Yount explained. “From there, we immediately fell into playing shows at Harlem’s African music clubs—places like Silvana and Shrine—as well as DIY dance parties in Brooklyn.” The result of all of this, Yount said, was “a sound that we intentionally designed to keep people dancing for as long as possible.” If necessity is the mother of all invention, then what the Last Leap recordings show us is a scrappy, young, unbridled Super Yamba Band pushing the sonic boundaries of what afrobeat could become in the 21st century. “We had so many forces driving us to that point. We’d previously been in a band together based out of North Carolina which featured songs by our friend Mamadou Sarr Mbengue, a Senegalese talking drum (tama) master who would also sing. Mamadou moved to Chicago and we moved to New York and since we no longer had a vocalist, we knew we needed to arrange these tunes in a way where the instruments would bring as much intrigue as possible,” Yount said. “This pushed guys like Sean and Walter to start bringing ideas forward for us to workshop together as a band.” The title track, “Last Leap,” is a prime example of dynamic ideas coming together into a single, epic arrangement. “The song almost has two movements with the intro, horn melody and dubbed out trumpet solo laid over an upbeat groove,” Yount explained. “This is all followed by an outro with a really funky time shift that goes from 4/4 to 12/8 while moving into a Senegalese/Malian feel that allows the vibraphone and desert blues guitar to shine before a big triumphant horn section puts a final statement on the piece… we obviously had a lot of fun with that one!” From the early days of the Last Leap sessions, Super Yamba Band never relented. Today the group has gained notoriety in the global afrobeat and afrofunk scenes largely through its extensive touring and Ubiquity Records releases with singer, composer, and guitarist, Leon Ligan-Majek, aka Kaleta, a veteran of the genre. “Our project with Kaleta gained traction so fast, we basically put these masters on the shelves and forgot about them,” Yount explained. “Years later we went back to listen—with fresh ears—and it was reinvigorating. We’re going to keep exploring these sounds and pushing the limits of what an instrumental, afrobeat-centric band can be, even as we continue to double-down on our work with Kaleta.” - Spencer Conover
Super Yamba Band- Control Per Capita Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/lastleap With an adventurous and daring take on instrumental afrobeat, Super Yamba Band’s Last Leap EP takes listeners back to 2014, the band’s formative year. “We had just moved to Brooklyn—Walter, Sean, Evan, and I,” said Daniel Yount, the band’s founder and drummer, “and our only plan for ‘making it’ was to just play as much music together as possible.” Finally released from the Yamba archives, the Last Leap EP is a sonic timestamp of the band’s creative energy during those very special first days in New York City. “We were excited, inspired—and probably a little overwhelmed. We wanted to record a few of our tunes so that we could have something for the clubs to listen to as we were trying to book gigs,” Yount explained. “From there, we immediately fell into playing shows at Harlem’s African music clubs—places like Silvana and Shrine—as well as DIY dance parties in Brooklyn.” The result of all of this, Yount said, was “a sound that we intentionally designed to keep people dancing for as long as possible.” If necessity is the mother of all invention, then what the Last Leap recordings show us is a scrappy, young, unbridled Super Yamba Band pushing the sonic boundaries of what afrobeat could become in the 21st century. “We had so many forces driving us to that point. We’d previously been in a band together based out of North Carolina which featured songs by our friend Mamadou Sarr Mbengue, a Senegalese talking drum (tama) master who would also sing. Mamadou moved to Chicago and we moved to New York and since we no longer had a vocalist, we knew we needed to arrange these tunes in a way where the instruments would bring as much intrigue as possible,” Yount said. “This pushed guys like Sean and Walter to start bringing ideas forward for us to workshop together as a band.” The title track, “Last Leap,” is a prime example of dynamic ideas coming together into a single, epic arrangement. “The song almost has two movements with the intro, horn melody and dubbed out trumpet solo laid over an upbeat groove,” Yount explained. “This is all followed by an outro with a really funky time shift that goes from 4/4 to 12/8 while moving into a Senegalese/Malian feel that allows the vibraphone and desert blues guitar to shine before a big triumphant horn section puts a final statement on the piece… we obviously had a lot of fun with that one!” From the early days of the Last Leap sessions, Super Yamba Band never relented. Today the group has gained notoriety in the global afrobeat and afrofunk scenes largely through its extensive touring and Ubiquity Records releases with singer, composer, and guitarist, Leon Ligan-Majek, aka Kaleta, a veteran of the genre. “Our project with Kaleta gained traction so fast, we basically put these masters on the shelves and forgot about them,” Yount explained. “Years later we went back to listen—with fresh ears—and it was reinvigorating. We’re going to keep exploring these sounds and pushing the limits of what an instrumental, afrobeat-centric band can be, even as we continue to double-down on our work with Kaleta.” - Spencer Conover
Super Yamba Band - Xoomba Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/lastleap With an adventurous and daring take on instrumental afrobeat, Super Yamba Band’s Last Leap EP takes listeners back to 2014, the band’s formative year. “We had just moved to Brooklyn—Walter, Sean, Evan, and I,” said Daniel Yount, the band’s founder and drummer, “and our only plan for ‘making it’ was to just play as much music together as possible.” Finally released from the Yamba archives, the Last Leap EP is a sonic timestamp of the band’s creative energy during those very special first days in New York City. “We were excited, inspired—and probably a little overwhelmed. We wanted to record a few of our tunes so that we could have something for the clubs to listen to as we were trying to book gigs,” Yount explained. “From there, we immediately fell into playing shows at Harlem’s African music clubs—places like Silvana and Shrine—as well as DIY dance parties in Brooklyn.” The result of all of this, Yount said, was “a sound that we intentionally designed to keep people dancing for as long as possible.” If necessity is the mother of all invention, then what the Last Leap recordings show us is a scrappy, young, unbridled Super Yamba Band pushing the sonic boundaries of what afrobeat could become in the 21st century. “We had so many forces driving us to that point. We’d previously been in a band together based out of North Carolina which featured songs by our friend Mamadou Sarr Mbengue, a Senegalese talking drum (tama) master who would also sing. Mamadou moved to Chicago and we moved to New York and since we no longer had a vocalist, we knew we needed to arrange these tunes in a way where the instruments would bring as much intrigue as possible,” Yount said. “This pushed guys like Sean and Walter to start bringing ideas forward for us to workshop together as a band.” The title track, “Last Leap,” is a prime example of dynamic ideas coming together into a single, epic arrangement. “The song almost has two movements with the intro, horn melody and dubbed out trumpet solo laid over an upbeat groove,” Yount explained. “This is all followed by an outro with a really funky time shift that goes from 4/4 to 12/8 while moving into a Senegalese/Malian feel that allows the vibraphone and desert blues guitar to shine before a big triumphant horn section puts a final statement on the piece… we obviously had a lot of fun with that one!” From the early days of the Last Leap sessions, Super Yamba Band never relented. Today the group has gained notoriety in the global afrobeat and afrofunk scenes largely through its extensive touring and Ubiquity Records releases with singer, composer, and guitarist, Leon Ligan-Majek, aka Kaleta, a veteran of the genre. “Our project with Kaleta gained traction so fast, we basically put these masters on the shelves and forgot about them,” Yount explained. “Years later we went back to listen—with fresh ears—and it was reinvigorating. We’re going to keep exploring these sounds and pushing the limits of what an instrumental, afrobeat-centric band can be, even as we continue to double-down on our work with Kaleta.” - Spencer Conover
Super Yamba Band - Last Leap Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/lastleap With an adventurous and daring take on instrumental afrobeat, Super Yamba Band’s Last Leap EP takes listeners back to 2014, the band’s formative year. “We had just moved to Brooklyn—Walter, Sean, Evan, and I,” said Daniel Yount, the band’s founder and drummer, “and our only plan for ‘making it’ was to just play as much music together as possible.” Finally released from the Yamba archives, the Last Leap EP is a sonic timestamp of the band’s creative energy during those very special first days in New York City. “We were excited, inspired—and probably a little overwhelmed. We wanted to record a few of our tunes so that we could have something for the clubs to listen to as we were trying to book gigs,” Yount explained. “From there, we immediately fell into playing shows at Harlem’s African music clubs—places like Silvana and Shrine—as well as DIY dance parties in Brooklyn.” The result of all of this, Yount said, was “a sound that we intentionally designed to keep people dancing for as long as possible.” If necessity is the mother of all invention, then what the Last Leap recordings show us is a scrappy, young, unbridled Super Yamba Band pushing the sonic boundaries of what afrobeat could become in the 21st century. “We had so many forces driving us to that point. We’d previously been in a band together based out of North Carolina which featured songs by our friend Mamadou Sarr Mbengue, a Senegalese talking drum (tama) master who would also sing. Mamadou moved to Chicago and we moved to New York and since we no longer had a vocalist, we knew we needed to arrange these tunes in a way where the instruments would bring as much intrigue as possible,” Yount said. “This pushed guys like Sean and Walter to start bringing ideas forward for us to workshop together as a band.” The title track, “Last Leap,” is a prime example of dynamic ideas coming together into a single, epic arrangement. “The song almost has two movements with the intro, horn melody and dubbed out trumpet solo laid over an upbeat groove,” Yount explained. “This is all followed by an outro with a really funky time shift that goes from 4/4 to 12/8 while moving into a Senegalese/Malian feel that allows the vibraphone and desert blues guitar to shine before a big triumphant horn section puts a final statement on the piece… we obviously had a lot of fun with that one!” From the early days of the Last Leap sessions, Super Yamba Band never relented. Today the group has gained notoriety in the global afrobeat and afrofunk scenes largely through its extensive touring and Ubiquity Records releases with singer, composer, and guitarist, Leon Ligan-Majek, aka Kaleta, a veteran of the genre. “Our project with Kaleta gained traction so fast, we basically put these masters on the shelves and forgot about them,” Yount explained. “Years later we went back to listen—with fresh ears—and it was reinvigorating. We’re going to keep exploring these sounds and pushing the limits of what an instrumental, afrobeat-centric band can be, even as we continue to double-down on our work with Kaleta.” - Spencer Conover
Super Yamba Band - Yetunde Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/lastleap With an adventurous and daring take on instrumental afrobeat, Super Yamba Band’s Last Leap EP takes listeners back to 2014, the band’s formative year. “We had just moved to Brooklyn—Walter, Sean, Evan, and I,” said Daniel Yount, the band’s founder and drummer, “and our only plan for ‘making it’ was to just play as much music together as possible.” Finally released from the Yamba archives, the Last Leap EP is a sonic timestamp of the band’s creative energy during those very special first days in New York City. “We were excited, inspired—and probably a little overwhelmed. We wanted to record a few of our tunes so that we could have something for the clubs to listen to as we were trying to book gigs,” Yount explained. “From there, we immediately fell into playing shows at Harlem’s African music clubs—places like Silvana and Shrine—as well as DIY dance parties in Brooklyn.” The result of all of this, Yount said, was “a sound that we intentionally designed to keep people dancing for as long as possible.” If necessity is the mother of all invention, then what the Last Leap recordings show us is a scrappy, young, unbridled Super Yamba Band pushing the sonic boundaries of what afrobeat could become in the 21st century. “We had so many forces driving us to that point. We’d previously been in a band together based out of North Carolina which featured songs by our friend Mamadou Sarr Mbengue, a Senegalese talking drum (tama) master who would also sing. Mamadou moved to Chicago and we moved to New York and since we no longer had a vocalist, we knew we needed to arrange these tunes in a way where the instruments would bring as much intrigue as possible,” Yount said. “This pushed guys like Sean and Walter to start bringing ideas forward for us to workshop together as a band.” The title track, “Last Leap,” is a prime example of dynamic ideas coming together into a single, epic arrangement. “The song almost has two movements with the intro, horn melody and dubbed out trumpet solo laid over an upbeat groove,” Yount explained. “This is all followed by an outro with a really funky time shift that goes from 4/4 to 12/8 while moving into a Senegalese/Malian feel that allows the vibraphone and desert blues guitar to shine before a big triumphant horn section puts a final statement on the piece… we obviously had a lot of fun with that one!” From the early days of the Last Leap sessions, Super Yamba Band never relented. Today the group has gained notoriety in the global afrobeat and afrofunk scenes largely through its extensive touring and Ubiquity Records releases with singer, composer, and guitarist, Leon Ligan-Majek, aka Kaleta, a veteran of the genre. “Our project with Kaleta gained traction so fast, we basically put these masters on the shelves and forgot about them,” Yount explained. “Years later we went back to listen—with fresh ears—and it was reinvigorating. We’re going to keep exploring these sounds and pushing the limits of what an instrumental, afrobeat-centric band can be, even as we continue to double-down on our work with Kaleta.” - Spencer Conover
Tigerbalm - Bahia Escapista Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Tokyo Business Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - La Brisa Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Waiheke Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Riad De Lister Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Cocktail DAmore Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Cosmic Camel (Instrumental) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Riad De Lister (Instrumental) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Tokyo Business (Instrumental) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Cosmic Camel Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Kete Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_international_love_affair In an age of regressive politics and inward-looking neo-nationalism, there’s something gloriously open and outward-looking about the musical worldview of Rose Robinson. A keen traveller whose mindset and musical vision has been shaped by her experiences visiting different destinations around the globe, Robinson’s releases as Tigerbalm thrillingly combine her roots in dance music – Robinson has been DJing around her home city of London and much further afield for well over a decade – with rhythms, sounds and instrumentation inspired by all manner of indigenous musical cultures from around the world. This trademark sound is sonically kaleidoscopic, unflinchingly percussive and undeniably infectious, though attempts to accurately describe it are likely doomed to failure. While confounding those employed to review music not Robinson’s aim – she was much more interested in fusing her eclectic global musical influences and showcasing great female vocalists – her brilliant debut album, International Love Affair, will surprise as much as it delights – and all for the right reasons. It arrives on the back of a string of celebrated singles and was created with the help of a large archive of recordings of jam sessions with musician friends, and contributions from a talented pool of female singers Robinson has met on her travels around the world. It’s those travels that shaped the sound of International Love Affair, with every track being a personal response to the musical cultures of places she’s visited. Combine these vivid experiences with nods to dancefloor-focused styles she loves – think organic house, nu-disco, Afro-house, dub disco, Afro-disco and Brazilian club cuts – and you have a debut solo album that’s as imaginative and entertaining as they come. For proof, check the album’s two Bali-influenced tracks: album opener ‘Kete’, where Joy Tyson’s stylish vocals ride a heady, low-slung midtempo groove wrapped in Indonesian instrumentation, and the extra-percussive, tech-house influenced dancefloor voodoo of ‘La Brisa’ (a cut named in honour of the Bali-based club of the same name). Or for that matter the two tracks inspired by Robinson’s experiences in Berlin, the Joy Tyson-voiced strut of ‘Tokyo Business’ – a dense, squelchy, dark-room ready blend of heavy grooves, punk-funk inspired vocals and ‘80s freestyle synth sounds – and the irresistible peak-time heaviness of ‘Cocktail D’Amore’, a track made in tribute to the legendary LGBTQIA+ party of the same name that sits somewhere between Afro-house, tribal house, dubbed-out late-night hedonism and the most mind-altering of organic percussion workouts. Robinson’s positive experiences on Waiheke Island in New Zealand, the location of the legendary Flamingo Pier festival, are explored on two tracks, too – superb recent single ‘Waiheke’ and the inspired ‘Cosmic Camel’ – an impeccable, breathlessly brilliant re-imagining of the mid-80s proto-house sound of Paul Simpson and Boyd Jarvis (amongst others) blessed with cut-up Maori vocal samples and the kind of hazy, dubbed-out horn licks that have long been a feature of records by New Zealand outfit Fat Freddy’s Drop. Such is the quality across the set, attempting to pick highlights is a futile gesture. Some may cite the breezy, Brazil-inspired samba-house/funky nu-disco of ‘Bahia Escapista’ (this features a very special ‘secret guest’ vocalist, whose identity will no doubt promote debate online), or Robinson’s response to visiting Morocco, ‘Riad De Lister’ – a squelchy chunk of 21st century P-funk that’s as heady and intoxicating as it is addictively dancefloor-focused. An instrumental version of that track is also featured on the album, alongside a handful of other vocal-free alternative takes. Taken as a whole, International Love Affair more than lives up to the promise of its title, marking out Robinson as one of electronic music’s most inventive and on-point global fusionists.
Tigerbalm - Waiheke (Alma Negra Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_waiheke Having recently opened her account on Ubiquity Records with the brilliant, Bali-inspired single ‘Kete’, Rose Robinson returns as Tigerbalm with another snapshot of her forthcoming debut album, International Love Affair. As with its predecessor, ‘Waiheke’ gleefully blurs the boundaries between contemporary club music and the rising star’s love of rhythms and musical cultures from around the world. All of the tracks on International Love Affair were specifically inspired by places Robinson has visited pre and post-pandemic. ‘Waiheke’ is no exception, with Robinson starting work on the track following an inspirational trip to the Flamingo Pier festival on Waiheke Island, New Zealand. Once again, the track is rooted in the London-based producer, DJ and multi-instrumentalist’s deep love of delay-laden 21st century disco, organic house and deep electronic club cuts. Pairing these influences with African-influenced percussion and sampled chants, Robinson delivers a sparkling fusion of Afro-cosmic and dubbed-out nu-disco rich in sparkling synth sounds and warm, weighty bass. Appropriately, Robinson’s original Tigerbalm take on ‘Waiheke’ is backed with a wealth of inspired remixes tailored to tantalise and tease a variety of dancefloors. The headline-grabbing remix comes from fellow ‘world dance’ fusionists Alma Negra, whose organic sounding, loose-limbed rework adds dubbed-out synth, guitar and vocal snippets to rolling Afro-disco beats and a faithful rendition of Robinson’s brilliant bassline. A smoother, more atmospheric interpretation of the track follows next in the shape of the BANANAS FOR BREAKFAST remix – think hazy, mid-tempo Balearic nu-disco smothered in sunrise-ready chords, Steve Hillage style guitar textures and heady, star-gazing intent. It’s a remix that’s as immersive and mind-soothing as it is dancefloor-ready. Semi-Delicious founder Demi Riquisimo, a rising star of the London deep and tech-house scenes, delivers a wonderfully spacey, tactile revision in his distinctive style, wrapping echoing sci-fi synths, intergalactic chords and chanted vocal snippets over a subtly acid-flecked house groove, while Quartz opts for a stripped-back, new wave-goes-dub-disco flex on a revision that sounds like a long-lost B-side from a sought-after early ‘80s post-punk single. Fittingly, Robinson gets the final word with a breezy, laidback ‘Sunset Rework’ built around mid-tempo Afro-house beats, heady hand percussion, stretched-out synthesizer chords and locked-in bass guitar loops. It provides a perfect end to the vinyl version of the EP, with the digital edition also including a tidy Tigerbalm radio edit for those who prefer shorter blasts of inspired cross-cultural musical fusion. ‘Waiheke’, then, is another sublime single from an artist whose distinctive personal style is rightly winning plaudits from across the musical spectrum. Her soon-come debut album is one you won’t want to miss.
Tigerbalm - Waiheke (Bananas For Breakfast Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_waiheke Having recently opened her account on Ubiquity Records with the brilliant, Bali-inspired single ‘Kete’, Rose Robinson returns as Tigerbalm with another snapshot of her forthcoming debut album, International Love Affair. As with its predecessor, ‘Waiheke’ gleefully blurs the boundaries between contemporary club music and the rising star’s love of rhythms and musical cultures from around the world. All of the tracks on International Love Affair were specifically inspired by places Robinson has visited pre and post-pandemic. ‘Waiheke’ is no exception, with Robinson starting work on the track following an inspirational trip to the Flamingo Pier festival on Waiheke Island, New Zealand. Once again, the track is rooted in the London-based producer, DJ and multi-instrumentalist’s deep love of delay-laden 21st century disco, organic house and deep electronic club cuts. Pairing these influences with African-influenced percussion and sampled chants, Robinson delivers a sparkling fusion of Afro-cosmic and dubbed-out nu-disco rich in sparkling synth sounds and warm, weighty bass. Appropriately, Robinson’s original Tigerbalm take on ‘Waiheke’ is backed with a wealth of inspired remixes tailored to tantalise and tease a variety of dancefloors. The headline-grabbing remix comes from fellow ‘world dance’ fusionists Alma Negra, whose organic sounding, loose-limbed rework adds dubbed-out synth, guitar and vocal snippets to rolling Afro-disco beats and a faithful rendition of Robinson’s brilliant bassline. A smoother, more atmospheric interpretation of the track follows next in the shape of the BANANAS FOR BREAKFAST remix – think hazy, mid-tempo Balearic nu-disco smothered in sunrise-ready chords, Steve Hillage style guitar textures and heady, star-gazing intent. It’s a remix that’s as immersive and mind-soothing as it is dancefloor-ready. Semi-Delicious founder Demi Riquisimo, a rising star of the London deep and tech-house scenes, delivers a wonderfully spacey, tactile revision in his distinctive style, wrapping echoing sci-fi synths, intergalactic chords and chanted vocal snippets over a subtly acid-flecked house groove, while Quartz opts for a stripped-back, new wave-goes-dub-disco flex on a revision that sounds like a long-lost B-side from a sought-after early ‘80s post-punk single. Fittingly, Robinson gets the final word with a breezy, laidback ‘Sunset Rework’ built around mid-tempo Afro-house beats, heady hand percussion, stretched-out synthesizer chords and locked-in bass guitar loops. It provides a perfect end to the vinyl version of the EP, with the digital edition also including a tidy Tigerbalm radio edit for those who prefer shorter blasts of inspired cross-cultural musical fusion. ‘Waiheke’, then, is another sublime single from an artist whose distinctive personal style is rightly winning plaudits from across the musical spectrum. Her soon-come debut album is one you won’t want to miss.
Tigerbalm - Waiheke (Tigers Sunset Rework) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_waiheke Having recently opened her account on Ubiquity Records with the brilliant, Bali-inspired single ‘Kete’, Rose Robinson returns as Tigerbalm with another snapshot of her forthcoming debut album, International Love Affair. As with its predecessor, ‘Waiheke’ gleefully blurs the boundaries between contemporary club music and the rising star’s love of rhythms and musical cultures from around the world. All of the tracks on International Love Affair were specifically inspired by places Robinson has visited pre and post-pandemic. ‘Waiheke’ is no exception, with Robinson starting work on the track following an inspirational trip to the Flamingo Pier festival on Waiheke Island, New Zealand. Once again, the track is rooted in the London-based producer, DJ and multi-instrumentalist’s deep love of delay-laden 21st century disco, organic house and deep electronic club cuts. Pairing these influences with African-influenced percussion and sampled chants, Robinson delivers a sparkling fusion of Afro-cosmic and dubbed-out nu-disco rich in sparkling synth sounds and warm, weighty bass. Appropriately, Robinson’s original Tigerbalm take on ‘Waiheke’ is backed with a wealth of inspired remixes tailored to tantalise and tease a variety of dancefloors. The headline-grabbing remix comes from fellow ‘world dance’ fusionists Alma Negra, whose organic sounding, loose-limbed rework adds dubbed-out synth, guitar and vocal snippets to rolling Afro-disco beats and a faithful rendition of Robinson’s brilliant bassline. A smoother, more atmospheric interpretation of the track follows next in the shape of the BANANAS FOR BREAKFAST remix – think hazy, mid-tempo Balearic nu-disco smothered in sunrise-ready chords, Steve Hillage style guitar textures and heady, star-gazing intent. It’s a remix that’s as immersive and mind-soothing as it is dancefloor-ready. Semi-Delicious founder Demi Riquisimo, a rising star of the London deep and tech-house scenes, delivers a wonderfully spacey, tactile revision in his distinctive style, wrapping echoing sci-fi synths, intergalactic chords and chanted vocal snippets over a subtly acid-flecked house groove, while Quartz opts for a stripped-back, new wave-goes-dub-disco flex on a revision that sounds like a long-lost B-side from a sought-after early ‘80s post-punk single. Fittingly, Robinson gets the final word with a breezy, laidback ‘Sunset Rework’ built around mid-tempo Afro-house beats, heady hand percussion, stretched-out synthesizer chords and locked-in bass guitar loops. It provides a perfect end to the vinyl version of the EP, with the digital edition also including a tidy Tigerbalm radio edit for those who prefer shorter blasts of inspired cross-cultural musical fusion. ‘Waiheke’, then, is another sublime single from an artist whose distinctive personal style is rightly winning plaudits from across the musical spectrum. Her soon-come debut album is one you won’t want to miss.
Tigerbalm - Waiheke (Demi Riquisimo Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_waiheke Having recently opened her account on Ubiquity Records with the brilliant, Bali-inspired single ‘Kete’, Rose Robinson returns as Tigerbalm with another snapshot of her forthcoming debut album, International Love Affair. As with its predecessor, ‘Waiheke’ gleefully blurs the boundaries between contemporary club music and the rising star’s love of rhythms and musical cultures from around the world. All of the tracks on International Love Affair were specifically inspired by places Robinson has visited pre and post-pandemic. ‘Waiheke’ is no exception, with Robinson starting work on the track following an inspirational trip to the Flamingo Pier festival on Waiheke Island, New Zealand. Once again, the track is rooted in the London-based producer, DJ and multi-instrumentalist’s deep love of delay-laden 21st century disco, organic house and deep electronic club cuts. Pairing these influences with African-influenced percussion and sampled chants, Robinson delivers a sparkling fusion of Afro-cosmic and dubbed-out nu-disco rich in sparkling synth sounds and warm, weighty bass. Appropriately, Robinson’s original Tigerbalm take on ‘Waiheke’ is backed with a wealth of inspired remixes tailored to tantalise and tease a variety of dancefloors. The headline-grabbing remix comes from fellow ‘world dance’ fusionists Alma Negra, whose organic sounding, loose-limbed rework adds dubbed-out synth, guitar and vocal snippets to rolling Afro-disco beats and a faithful rendition of Robinson’s brilliant bassline. A smoother, more atmospheric interpretation of the track follows next in the shape of the BANANAS FOR BREAKFAST remix – think hazy, mid-tempo Balearic nu-disco smothered in sunrise-ready chords, Steve Hillage style guitar textures and heady, star-gazing intent. It’s a remix that’s as immersive and mind-soothing as it is dancefloor-ready. Semi-Delicious founder Demi Riquisimo, a rising star of the London deep and tech-house scenes, delivers a wonderfully spacey, tactile revision in his distinctive style, wrapping echoing sci-fi synths, intergalactic chords and chanted vocal snippets over a subtly acid-flecked house groove, while Quartz opts for a stripped-back, new wave-goes-dub-disco flex on a revision that sounds like a long-lost B-side from a sought-after early ‘80s post-punk single. Fittingly, Robinson gets the final word with a breezy, laidback ‘Sunset Rework’ built around mid-tempo Afro-house beats, heady hand percussion, stretched-out synthesizer chords and locked-in bass guitar loops. It provides a perfect end to the vinyl version of the EP, with the digital edition also including a tidy Tigerbalm radio edit for those who prefer shorter blasts of inspired cross-cultural musical fusion. ‘Waiheke’, then, is another sublime single from an artist whose distinctive personal style is rightly winning plaudits from across the musical spectrum. Her soon-come debut album is one you won’t want to miss.
Tigerbalm - Waiheke (Quartz Remix) Ubiquity Records 2024-02-20 | Buy, Download, Stream - fanlink.to/tigerbalm_waiheke Having recently opened her account on Ubiquity Records with the brilliant, Bali-inspired single ‘Kete’, Rose Robinson returns as Tigerbalm with another snapshot of her forthcoming debut album, International Love Affair. As with its predecessor, ‘Waiheke’ gleefully blurs the boundaries between contemporary club music and the rising star’s love of rhythms and musical cultures from around the world. All of the tracks on International Love Affair were specifically inspired by places Robinson has visited pre and post-pandemic. ‘Waiheke’ is no exception, with Robinson starting work on the track following an inspirational trip to the Flamingo Pier festival on Waiheke Island, New Zealand. Once again, the track is rooted in the London-based producer, DJ and multi-instrumentalist’s deep love of delay-laden 21st century disco, organic house and deep electronic club cuts. Pairing these influences with African-influenced percussion and sampled chants, Robinson delivers a sparkling fusion of Afro-cosmic and dubbed-out nu-disco rich in sparkling synth sounds and warm, weighty bass. Appropriately, Robinson’s original Tigerbalm take on ‘Waiheke’ is backed with a wealth of inspired remixes tailored to tantalise and tease a variety of dancefloors. The headline-grabbing remix comes from fellow ‘world dance’ fusionists Alma Negra, whose organic sounding, loose-limbed rework adds dubbed-out synth, guitar and vocal snippets to rolling Afro-disco beats and a faithful rendition of Robinson’s brilliant bassline. A smoother, more atmospheric interpretation of the track follows next in the shape of the BANANAS FOR BREAKFAST remix – think hazy, mid-tempo Balearic nu-disco smothered in sunrise-ready chords, Steve Hillage style guitar textures and heady, star-gazing intent. It’s a remix that’s as immersive and mind-soothing as it is dancefloor-ready. Semi-Delicious founder Demi Riquisimo, a rising star of the London deep and tech-house scenes, delivers a wonderfully spacey, tactile revision in his distinctive style, wrapping echoing sci-fi synths, intergalactic chords and chanted vocal snippets over a subtly acid-flecked house groove, while Quartz opts for a stripped-back, new wave-goes-dub-disco flex on a revision that sounds like a long-lost B-side from a sought-after early ‘80s post-punk single. Fittingly, Robinson gets the final word with a breezy, laidback ‘Sunset Rework’ built around mid-tempo Afro-house beats, heady hand percussion, stretched-out synthesizer chords and locked-in bass guitar loops. It provides a perfect end to the vinyl version of the EP, with the digital edition also including a tidy Tigerbalm radio edit for those who prefer shorter blasts of inspired cross-cultural musical fusion. ‘Waiheke’, then, is another sublime single from an artist whose distinctive personal style is rightly winning plaudits from across the musical spectrum. Her soon-come debut album is one you won’t want to miss.
