Electric Crate Digger

Recording as Hardfloor, Oliver Bondzio and Ramon Zenker are responsible for some of the most hair-raising acid cuts to come out of Germany during the heyday of rave culture. As Dadamnphreaknoizphunk, the pair explore the chill side of electronic music, resulting in a jazzy trip-hop sound that seems to be the complete antithesis of their mind-bending dance attacks. The common thread between this seemingly irreconcilable duality is that most classic of electronic music machines, the Roland TB-303. And while the tiny silver box has done for dance music what the distortion pedal did for rock & roll, Bondzio and Zenker bring the machine's alien squelching sound home with them, melding it with more typical jazz and hip-hop samples to create downtempo tracks with a fluid groove that spaces out the otherwise blunted rhythms. "Custommade Sneakers" joins a repetitive acid blurb with subdued organ flourishes while "Complex Dinner Wardrobe" uses the 303 itself to achieve its melodic ends with overlaid acid lines that sound like Plastikman if he were to employ a funk drummer.

On March 31, Austin-based Flyjack will release its third record, New Day - a love letter to late 60's and early 70's rare groove, soul and deep funk. Painstakingly assembled over 17 months at guitarist Buck McKinney's Rocky Coast Studio, New Day features seven carefully curated underground rare groove classics, and five Flyjack originals. Utilizing an assortment of vintage microphones, preamps, Moog synths, Wurlitzer electric pianos and other 70's gear, coupled with modern recording techniques and sonics, Flyack pays homage to underground funk while embracing new possibilities for the genre.

Afro-Soultet - Afrodesia (1969) {Luv N' Haight LHCD063 rel 2011}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 267 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 9 Mb | 5% repair rar
© 1969, 2011 Banyan / Ubiquity Recordings / Luv N' Haight | LHCD063
Jazz / Afrobeat / Jazz Funk / Soul Jazz

Afrodesia is the lone album by the Afro-Soultet, which may or may not have been officially released by Banyon sometime between 1968 and 1971 (no one still breathing can remember the exact date). What we do know is that Johnny Kitchen (aka Jack Millman) licensed the record to Banyon's Betty Chiappetta (Vee-Jay Records), and the record received a test pressing. The Afro-Soultet originally hailed from Texas and recorded several albums under the name Afro-Blues Quintet +1, who had previously recorded three albums and seven 45s.