Corny Cheesy

Driving/ Ambient/ Everything 6

vinyl & merch via https://sampology.bandcamp.com/album/regrowth
Sampology.com
Middle Name Records
MNR005

Regrowth

Yep 13

Good Pop 2

JazZ^∆^ChilL

Space Techno

Reposting my groove to Miles Davis 'Blue In Green' I did last year, if you've heard before apologies :) If not hope you like :)

A Late Night Groove to 'Blue In Green' - Miles Davis

Suffer and Swim ft Allysha Joy

Memories In Flight

vinyl & merch https://sampology.bandcamp.com/album/regrowth
Middle Name Records
MNR005
Sampology.com

Saturn Returns ft Laneous

Peace Lily

Running Around

The English Riviera

We Broke Free (NZCA LINES La Riviera Inglesa Remix)

Shang-Chi and The Legend of The Ten Rings: The Album

Fire In The Sky

Hard Drive Gold

Walking On Water (feat. TEED)

-Steppers Dubs Volume 2-
Sam Deeley - 93 Till
**This is an unofficial remix of Souls Of Mischief - 93 'Til Infinity**
**I do not own any of the rights to the original by Souls Of Mischief** 
JOIN THE CLUB: www.steppersclub.co.uk

FREE DOWNLOAD

93 TILL

(FYI: This song is available on my website at: https://ahmedsirour.com/track/2996468/midnight-melanin-manhattan-a-score-for-ivy as well as Bandcamp at: https://ahmedsirour.bandcamp.com/track/midnight-melanin-manhattan-a-score-for-ivy)

I created this based on a scene from the 1968 film, #ForLoveofIvy, which was a story written by the recently departed, late/great #SidneyPoitier and featuring the also late/great #AbbeyLincoln. The music you hear is an original score I created, inspired by this scene (not one of Quincy Jones', who beautifully scored the rest of this movie, although his style was an influence I wanted to partially emulate). I was actually surprised he left so much room open in this bedroom scene you're watching now, because the original scene had no music at all until after Ivy (Abbey) joins Jack (Sidney) in bed for Round 2 of their lovemaking. 

Inspired by the great cinematography and sexiness of this moment, this is an all original arrangement of my own, and even chopping up and editing the royalty-free horns that I used for the trumpet and saxophone solos (which was very difficult to do because it's a combination of many different real horn player samples that I had to edit/pitch/re-arrange/EQ just for it to sound like two players to add to the grand piano, upright/double bass, and horn parts in the hook/chorus that I manually played and myself on keyboard (via Logic Pro instruments) to make it into a Jazz "quartet", then finally mixing and mastering the whole thing for it to come out finally as it did, which you can hear in full from the link at the top of this description.

Like many, I took a trip down memory lane, watching #SidneyPoitier films, since his recent passing at age 94. However, not many people know of/have seen this particular film called  "For Love of Ivy", which is kinda surprising since Sidney was THE biggest movie star in Hollywood at the time this film came out in 1968.

To put it in perspective, he started filming this movie (an original story he wrote, himself) in the Autumn of '67, but just a few months earlier that year, #ToSirWithLove dropped in the Spring, followed by #InTheHeatoftheNight that Summer, and #GuessWhosComingToDinner was up next in December to close out his undefeated year as the King of the Silver Screen. While each film in '67 was a blockbuster hit (and all dealt with #racism in some form), "Ivy" was very different as it was a rare mainstream film showcasing two Black romantic leads–Sidney, and the magnificent Jazz singer/activist Abbey Lincoln (who had a dope afro but they gave her a wig, instead 🙄 )–and it even featured the very first (though not explicit) Black lovemaking scene in a Hollywood movie. Perhaps that's why it didn't get much publicity over time as those others did, because more radical than a 1967 film with an interracial couple is a 1968 one with a Black couple being intimate on the big screen.

Ivy's character looked so serene, looking through the window, out over Manhattan late at night, in the afterglow of their tryst, before taking the throne and looking over her sleeping "conquest" 😉 It's a sexy scene without music, but I wanted to hear what it would sound like with some, and so I take this moment to celebrate the memory and legacy of Sidney Poitier, of Abbey, and this wonderful moment of #BlackLove on film with it!

This song will be included in my upcoming project I'm releasing on my bday, Tuesday, the 22nd of February, 2022 (or 22/02/2022). That's also the title of the project: 22022022 (the only palindrome b'earthday I'll have in my lifetime). I hope you enjoy and Happy #BlackHistoryMonth.

#AhmedSirour

Midnight, Melanin, & Manhattan (a score for Ivy)

"Midnight, Melanin, & Manhattan (a score for Ivy)"

Queen Mum

Misty Mountains Final

Let It Ride

Let It Ride (From "Norah Jones is Playing Along" Podcast)

A re-working of the classic "Kind of Blue" track written by Bill Evans.  

Miles Davis - Blue in Green

Plastic Ono Band

Hold On (Remastered 2010)

Colour The Small One

Butterflies

Dino: The Essential Dean Martin

That's Amore

https://soundcloud.com/jinsangbeats
https://jinsangbeats.bandcamp.com/album/kona-park

kona park.

jinsang - with.you

Buy link: https://lnk.to/savefabric

London nightclub fabric and its in-house, artist-led label Houndstooth have released a huge, 111-track compilation of previously unreleased music.  #SaveFabric features tracks from Clams Casino, Skream, Machinedrum, Coldcut, Simian Mobile Disco, Clark, Howie B, µ-Ziq, Terry Francis, Mumdance, Caspa & Rusko, Roman Flügel, Route 94, and many other artists who all donated their music.

On 7th September, fabric’s license was revoked forcing the closure of one of the UK’s most important venues and adding to the 50% of clubs closed in London since 2008.  A court date for Fabric’s appeal hearing has been set for 28th November.  With proceeds going towards their ongoing campaign to re-open, purchasing the #SaveFabric Compilation – which costs just £9.99 – is a chance for fans of music, clubs, culture and nightlife to support fabric and Houndstooth.

℗ & © 2016 fabric Records / Houndstooth.

#savefabric

Procession

Buy #savefabric

Guy Andrews - Procession

Birdie

Acolyte

letting go

BUY: bit.ly/cfa070_nhar_light_radius

ARTIST: Nhar
TITLE: Light Radius
LABEL: Crossfrontier Audio
CAT #: cfa070

Out now: CFA070 - Nhar - Light Radius (Original Mix)

(c)&(p) 2018 Fazer
Artwork: Daily Dialogue (dailydialogue.cc)

Releasedate: 14. September 2018
Label: Fazer
Format: 12", 180g vinyl, 45 rpm
Distributor: wordandsound

Info:

The German Jazz quintet Fazer releases the 12“ White Sedan with two remixes by Glenn Astro & Hodini (Apollo, Ninja Tune, Tartelet, Money $ex etc.) and Tru Thoughts powerhouse Werkha.
The band appeared on the map in March with their self-released debut album MARA. The dynamic range of their drum-centered sound combined with extensive improvisation resonated with international listeners and DJs alike, appearing in sets by Mafalda or Louise Chen and on the waves of radio stations like NTS, Le Mellotron or Worldwide FM.

The original track builds on the so called „Guaguanco“, a traditional latin rhythm that is closely tied to dance. Stretching over 7 minutes, the song opens with an introduction of the groove by the two drummers. The main theme then sets the mood that is maintained through searing trumpet kicks and two solos of remarkable restraint that is too often missing in the contemporary jazz world. After a reprise of the theme, the tune ends on a mellow note echoing its more frantic parts in a more soberly manner.
Romantic yet never tacky, White Sedan can be a special turn in an eclectic DJ-set as well as the soundtrack to a sundown getaway scene in a heist movie.

Glenn Astro & Hodini completely melted down the original stems, molding them into a glimmering warm-up gem with the usual virtuosic musicality they're both known for. While for their latest LP „Turqouise Turtle“ on Apollo Records they pooled together individual tracks, this remix is their first proper collaborative effort so far.

Werkha's take incorporates the original rhythm but adds a breath of fresh air with deep jazzy keys and ecstatic MIDI synth stabs. While it starts smoothly, inhaling the vibe of the original, the remix evolves into a peak-time banger that could tear the roof off of any party at the right moment. The distorted percussive elements give the track a breaky attitude and expose the London roots of the Glasgow-based producer.

White Sedan (Glenn Astro & Hodini / Werkha Remix)

White Sedan (Original Mix)

nightmares

I Don't Know Me Like You Do

The Look

Raising Hell (Expanded Edition)

It's Tricky

Música por Glue Trip.

voz, arranjos e clima praiêro por Lucas Moura e Gouveia Phill
gravada e mixada no AP 307 
masterizada por Pepeu Guzman (Mardito Discos)

Letras / Lyrics:

Elbow Pain

And I don't know where to go
For all my life I've been so close

And I don't know where to go
For all my life I've been so close

And I don't know where to go
For all my life I've been so close

And I don't know where to go
For all my life I've been so close

And I don't know where to go
For all my life I've been so close


My love was always by my side.
And I don't know why
You don't like to be with me 
In a sunny day

And I don't know why 
You don't call me right now

Don't know why
you don't like to be with me 
In a sunny day

My love was always by my side.
And I don't know why
You don't like to be with me 
In a sunny day

And I don't know why 
You don't call me right now

Don't know why
you don't like to be with me 
In a sunny day

My love was always by my side.
And I don't know why
You don't like to be with me 
In a sunny day

And I don't know why 
You don't call me right now

Don't know why
you don't like to be with me 
In a sunny day

My love was always by my side. x 4

Download

Elbow Pain

Shampoo Bottles

Here we go , this is our first travel on the "Owl Vision" planet . 
Hope you like it , and stay for the next chapter .

@getthesound

Owl Vision

"Wake Up" available to buy and stream: smarturl.it/Kowloon
Facebook: www.facebook.com
Soundcloud: @officialkowloon
Instagram: www.instagram.com/officialkowloon
YouTube: www.youtube.com/channel/UCqVFXfZS7ZCNUQEp29oihXA

Come Over

Wake Up

To S. / To R.

To R.

I just want to hear you say it once
Say it like you're telling everyone
Certain things sound good
Certain things just, sound like they should be on my radio
If beauty's interchangeable, than I'm missing something
I'm missing something

'Cause there is really just one place
I should be at
It's in the backseat
With my head on your lap
I hope he takes the long way
We don't need to get back
It's the in between that lasts

I've been painting cave walls all day
Tell me what these scribbles say
Language has rules
Don't forget that all of these tools are made so you can play
Every note for you to take
'Can't you see that much
Answer me this once
Is my face up in that Rorschach test
Science has no affect on me in certain moods
Certain lies are in the end true
Thats what the music does
Referees don't fall love
And they don't lose
Teach me how to lose

'Cause there is really just one place
I should be at
It's in the backseat
With my head on your lap
I hope he takes the long way
We don't need to get back
It's the in between that lasts

referees don't fall in love

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.