Foshe and Bentley are two separate entities who regularly collaborate in their home city of Sydney. Foshe create fully improvised polyrhythmic-afro-Latin-synth-ambient-jazz-house. The trio have been gigging heavily from 2018, engaging in energetic weekly residencies, and supporting artists from Lonnie Liston Smith to the 30/70 collective, Horatio Luna and ZFEX, GODTET and more.

Mike Bentley is a drummer who collaborates with friends around Sydney/Melbourne, creating deeply groovy, rhythmically hypnotic journeys through jazz, hip hop and house, inspired by the likes of Kamaal Williams & Vijay Iyer. Producing modern jazz-house combined with odd time signatures, Mike was a key driving force behind this set of new, live recordings.

The ‘Parlour Cucina’ album is the result of a live residency at the Sydney venue of the same name. The residency was split between sets with the regular Foshe trio (Mike, Zigi, Tom) and open collaborations with other artists through Bentley.

'Breadsticks' is the first track to be lifted from the album which is being released via Headcount Records on May 31st

Parlour Cucina

Breadsticks

pre-order vinyl

Foshe & Bentley - Breadsticks

06. Remember It’s Just A Dream / 梦而已

Today’s premiere comes from Ugly Mac Beer, who shares the bossa meets boom bap instrumental “Dolce Vita” with us. 

French producer Ugly Mac Beer, known for his contributions to the breakbeat scene and for founding Beatsqueeze Records, is releasing a new solo album titled ‘The Valley of the Kings’. 

Set for release on January 27, 2023, the album features a collection of obscure samples from around the world, repurposed into heavy boom bap instrumentals. 

With inspiration from 90s productions by genre masters such as Madlib, DJ Shadow, and RZA, the album's concept centers around the search for the ultimate and perfectly heady loop. 

A concept album, ‘The Valley of the Kings’ tells a story of a journey back to the time when the pyramids were built, and is described as Ugly Mac Beer's own "old movie about Egypt".

The Valley Of The King

Bandcamp

Exclusive Premiere: Ugly Mac Beer "Dolce Vita" (X-Ray Productions)

Galaxy (MNR006)

03 - Constant Call ft Tiana Khasi - Sampology & Charlie Hill

first single and title track from forthcoming 'Galaxy' seven track collaborative project from Sampology & Charlie Hill.
available vinyl and digital via Middle Name Records
https://middlenamemusic.bandcamp.com/album/galaxy

01 - Galaxy - Sampology & Charlie Hill

Amber Air

D.K. returns to Antinote for his fourth release, conjuring up the warmth and light for the elusive Indian summer.  Glockenspiel, panpipes, seagull and rain samples all dancing around each other with pristine elegance.

Read more & buy: http://www.stampthewax.com/2017/11/13/premiere-d-k-leaving/
Listen on Youtube: http://bit.ly/dk-leaving

Distant Images

Listen on Youtube

D.K. - Leaving (STW Premiere)

Roll credits! Ensemble Entendu - a collaboration between Evan Shornstein (Photay) and Astro Nautico co-founder Sam O.B. - return with their first piece of music since Selected Rhythm Works Vol. 1, the duo's debut album released almost 2 years ago exactly. We all feel the passing of time, for better or for worse, but in this case it’s marked with celebration for the past, present and future. A jubilant romper, 'Time Is Certainly Passing' pays homage to stadium pop legends like Phil Collins and Peter Gabriel in a balearic adaptation more suited to intimate, fluorescent dancefloors. Driven by a rhythm at once tropical, disco and afro-beat, painted with soaringly cosmic synth orchestration washed through grand canyons of reverb, Ensemble Entendu have announced their re-arrival here underlined and bold, a testament to the confidence both artists have achieved together over time with their sound as a powerhouse creative tag-team. Keep your ears to the ground for more to come!

Sax written & played by Jaedon Alvira 
Artwork by Pete Ford

http://hyperurl.co/sib1fl

Time Is Certainly Passing

Ensemble Entendu - Time Is Certainly Passing

I Can See, the second transmission from Harvey Sutherland’s upcoming 12”, increases the intensity from the broken beat cinemascope of first single Amethyst. Like its predecessor, it features Kahlil Memphis on drums. A fractured jungle excursion with moments of thundering energy and an undeniable UK spirit, the track's inspiration is rooted in a visceral hallucination; the feeling of climbing a never-ending staircase, each step drawing you closer to the light. I Can See draws to a close with the fitting together of a beautifully complex puzzle, before a cut to black.

Amethyst

I Can See

Rhythm Section are proud to welcome London based production duo The Colours That Rise to their ranks with their newest single “Home Time”.

Comprised of producer duo Simeon Jones and Nathanael Williams, The Colours That Rise have previously turned heads with 2017’s “2020” EP released on Breaker Breaker (the label credited with breaking Ross From Friends).

Broadcasting signals from the darkest corners of the solar system, “Home Time” is heady brew of crisp, driving drums, psychedelic electronics and cruising synth lines. Full of atmospheric textures and cosmic soundscapes the track provides a taster of what’s to come in earth’s not too distant dystopian future.

“Home Time” is released digitally on December 6th

Exclusive Premiere: The Colours That Rise “Home Time” (Label: Rhythm Section)

Heaven Is Over

Loving Furlong

Producer, DJ, Middle Name Records, Balamii Monthly Show
 
Sam Poggioli, aka Sampology, is a DJ, producer, recording engineer, visual artist and former Worldwide FM host from Brisbane/Meanjin. Over the last fifteen years, Sam has been a key player in the rise of Australia’s burgeoning hip-hop, deep house, future jazz and broken beat scenes. Since 2017, he’s released records through Soul Has No Tempo, his own Middle Name Records label, and crafted uptempo remixes for Quantic, Kerbside Collection, Winston Surfshirt and Myele Manzanza.

In the early days of his career, Sam made his mark by performing acclaimed audiovisual DJ sets at festivals and nightclubs throughout Australia, New Zealand, South Asia, Europe and North America. In more recent years, however, he’s balanced his considered skills in the DJ booth with his personal evolution as a composer, producer and recording engineer. Revelling in lush, atmospheric soundscapes which draw from the grandiose splendour of the natural landscape that surrounds his hometown, Sam’s music embraces ornate melodic beauty, blending with syncopated rhythms, low-end theory and lush vocals.

Before he took his audiovisual DJ sets to the world, Sam sharpened his musical knowledge and skills while working at the iconic Butter Beats record store and spinning a mixture of hip-hop, breaks and drum and bass at nightclubs across Brisbane. The road he walked to that point began in his mid-teens after he was exposed to New York’s Native Tongues collective and The Avalanches from Melbourne/Naarm. 

Fascinated by the sampledelic production techniques that helped take hip-hop to new levels in the 90s, Sam learned the basics of computer music production from his cousins, who were already performing nationally in a live electronica group. However, for the first act of his career, DJing was where Sam really shined. Soon enough, he was gracing stages alongside underground US and UK hip-hop stars like Blackalicious and Roots Manuva.

After proving himself nationally and overseas, Sam felt compelled to reconnect with Brisbane’s musical community and focus on his own growth as a producer and composer. This time around, as opposed to DJs and beatmakers, he was hanging out with a generation of trained instrumentalists and singers like Laneous and Noah Slee, who were reshaping the sounds of neo-soul, RnB, broken beat and jazz in the city. After learning more about recording equipment, he began collaborating with them on the material that made up his debut EP, Natural Selections (Soul Has No Tempo, 2016).

Sam also began to spend more time in the grandiose natural landscape that surrounds Brisbane and found himself reflecting on the formative musical experiences of his childhood, like being exposed to string music ensembles by his father and aunt, who’ve both spent decades as members of the Queensland Symphony Orchestra. Sam also thought back to his early teens when he sang in a cathedral choir. As he began to carve out his own composition and production sound, choral music, harmony, and string textures became a crucial counterpoint to the rhythmic sensibilities he’d learned from DJing hip-hop and dance music to audiences across the globe.

By 2018, Sam was recording local choirs and string sections and had built a strong community of like-minded musicians around himself. That year, he established his own independent label and recording studio, Middle Name Records. He inaugurated it with the release of his soulful deep house EP Mt Glorious featuring Dudley Perkins, Georgia Anne Muldrow and Jordan Rakei, and Middle Name Dance Tracks Vol 1, a collection of broken beat, disco and house tracks he’d recorded with friends as Middle Name Dance Band.

In 2019, the tastemaker Gilles Peterson invited Sam to host a monthly online radio show on Worldwide FM, giving him a platform to share his ever-expanding musical taste with a global audience. Through his shows, emerging soul, jazz, RnB, hip-hop, and club music from Australia and New Zealand stood shoulder to shoulder with the freshest new cuts and reissues from the global underground.

Two years later, Sam released his debut album, Regrowth, through Middle Name Records. Featuring collaborations with Laneous, Allysha Joy (30/70 Collective), Silent Jay, Seven Davis Jr (US) and James Chatburn, the album showed off his hard-won growth as a composer and producer with inimitable style. Through a heady mixture of live instrumentation, synthesisers, machine beats and soaring voices, Regrowth charted a course through hip-hop, dance, ambient and jazz-funk, earning him comparisons to Bonobo, Jamie XX, Kaytranada and Jon Hopkins along the way.

After the release of Regrowth, Sam realised he’d spent the first half of his career chasing the cutting-edge underground sounds of North America and Europe. When he looked around him, he saw that in the wake of Melbourne/Naarm jazz-funk band Hiatus Kaiyote’s international success, the world was looking at Australia. Since then, he’s been working to document the sound of Brisbane’s underground through Middle Name Records. Sam hopes that in the future, the label’s discography may inspire a new generation of music lovers. Maybe in a decade, someone going through the bins in a record store in London or Manchester will become fascinated by the 2020s Brisbane sound.

01 - Galaxy - Sampology & Charlie Hill

sampology

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