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Come party w/ DJ Raichous & Shred One this Friday 1/10/14 for FUNN at Splitty's 415 Myrtle Ave. Brooklyn! 10p-3a, 21+, FREE!

FUNN Promo Mix By DJ Raichous & Shred One

[THIS IS NOT THE FULL VERSION, the full EP is on Bandcamp via this link
there's 8 SONGS in total but you have to buy it.]

NEW EP SAME PROPAGANDA.

Stop the blerni means to cease any form of lie, ant form of unknown hatred and any form of bullsh*t.
so please.. stop the blerni.

AURA EDiTiON - "Feel the power that holds this project, feel it's aura"

[DISCLAIMER] : You do not have the right to publish the song, in any form or plateform whatsoever (Mixtape, Édit, Speed-Up, ect.) WITHOUT MY CONSENT.

COSMON8TE - 8G

It’s been a steady process of growth and a long time coming to arrive at this sophomore full-length for the man known in his native Steel City and beyond as producer/keyboardist/DJ Buscrates, and every minute of it can be heard and felt on these ten funky and highly evocative tracks.

The finely-honed balancing act between vintage-80s-synth goodness and neck-snapping 90s boom bap, all coated with just the right amount of soulful melodic sensibility never falters at any point on the album. For a more specific comparison, think Manzel's Midnight Theme LP updated for these strange times we're in seems to fit the bill, especially on tracks like "Prisms," "Floating In The Wind" and "Early Morning." This is the funky instrumental mood music you desperately need right now whether you realize it or not, and Buscrates is here to serve it up. "Buckin'" is prominent among the many highlights of the Pittsburgh producer’s album, strongly evoking the likes of Paul Hardcastle, Atmosfear and the Art Of Noise while simultaneously paying homage to the funk/R&B roots of Detroit techno pioneers like Juan Atkins and Derrick May. The album's sonic journey culminates in "On My Way," the only vocal track on the album and which features Soraya Watti's lovely vocals. One can easily imagine this track on the playlist of NY's WBLS in the early 80s. Soraya's smooth and soulful tones prove to be the perfect addition and act as a kind of sexy ghost in the Buscrates machine. The album as a whole feels like nothing so much as an updated, postmodern version of the kinds of sleek, funky grooves oozing through your Cadillac's 8-track deck circa 1972. 

It's music that's "smooth" in all the best possible connotations of the term: music that's smooth on the streets and also smooth between the sheets. It's sleek, sexy and very, very funky, which will come as no surprise to Bus' 12,000 Twitch followers accumulated over the course of his weekly Friday stream. Notable fans and supporters of his include Jazzy Jeff, Francois K, Dâm Funk, Rich Medina, and Spinna. Even more believers in his funky gospel have come as a result of his increasing road gigs in cities like Berlin, NYC, Detroit and Washington DC.

This new album is both a culmination and the beginning of a glorious new phase. Buscrates' time is right now.

Order LP Here

BusCrates - Prisms

Bastard Jazz is proud to present the debut EP from producer and multi-instrumentalist Simon Mavin. Most well known as the Grammy nominated keyboardist/co-producer and co- writer of the celebrated Australian band Haitus Kaiyote, Simon’s had a hand in multiple projects across the spectrum, but has yet to release under his own moniker until now.

The EP, which features two original tracks and two remixes from fellow Aussies Harvey Sutherland and Close Counters starts out was recorded in-between projects at the Grove, a small recording sanctuary in Melbourne. In Simon’s studio, he had installed a library of keyboards. 30-40 synthesizers, all of which were painstakingly patched in to be simultaneously accessible and ready to record in an instant. A drum kit in the corner was constantly mic'd up, and everything routed through a multitude of analog mixing desks providing different flavours of tone and texture. The Grove had such appeal that it was chosen as the studio to record the Gilles Peterson compilation ‘Sunny Side Up’ on Brownswood Recordings.

Things kick off with “Good Hair Day”, a track originally blossoming from an infectious piano loop in which fellow collaborators Nick Lam and Henry Hicks added guitar parts and bass parts. What’s resulted is a danceable, infectious feel-good dancefloor jam with an ultra funky synth bassline that harkens back to Herbie Hancock’s 1970’s repertoire. Harvey Sutherland takes the tempo up and takes the track deeper into outer space with deep synth work, four on the floor drums, and a punchy bassline for late night sessions.

On the flip, “Only You & Me” is a lower tempo, slow burning joint with a live drum loop played by Nick Martyn, with an alien bassline, squelching keys, otherworldly oscillating vocodor parts and jazzy keyboard solos. Up and coming trio Close Counters take the song into new territory, stripping things down with a classic Broken Beat vibe, a driving bassline and synth stabs from the original, moving things squarely on the dancefloor – definitely a track for the breakers in the building.

Simon Mavin - Only You & Me

Bastard Jazz