Various
Disco Biscuits #3

Shot of T stays always curious and on the lookout — and thus found an unreleased album by Robotron. Italian born, Berlin based music producer and artist of Zurich based label Unruh and new label by DNP named Future Offline.Shot of T proudly announces Robotron first album release. Nothing more than first!His cinematic soundscape produced with his collected hardware music instruments in his small studio of Marzahn, Berlin.

When one of South Africa’s most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it’s going to be a special record. Dennis Mpale was one of South Africa's heavyweights. You’ll find his name springing up on every important South African jazz record and billing since the 1960’s. Chris McGregor’s iconic Jazz/The African Sound LP, Abdullah Ibrahim’s Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound. Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa. Moving between London and South Africa during the 70’s and 80’s It wasn’t till the early 1990’s when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s ‘Paying My Bills’ (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and Gorgeous floating solo opener of ‘Paying My Bills’, to the highly infectious vocal phrasing on thumping house anthem ‘Take My Time’. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa’s biggest producers Peter ‘Hitman’ Moticoe, creating the perfect recipe for a certified summer slammer.Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery’s very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It’s loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping. Early plays include resident NTS DJ’s and a feature on Palms Trax Radio 1 residency with surely more support to follow.

High-flying global house and techno torch-bearer Jimi Jules returns with a new EP Free Bird on Life and Death Records.The four tracks on Free Bird were written during the same sessions as Jimi’s album ‘+’ on Innervisions in 2022, and collected together they’re a summary of what Jimi’s all about - hands-in-the-air anthems, chaotic house bangers, deep burners and contemplative moments all rolled into one release.

The Alias Sessions by MurcofMurcof, the primary project of producer Fernando Corona, returns to The Leaf Label for the first time in thirteen years with a mammoth and visionary double album, The Alias Sessions. This collection brings together all the elements incorporated into the project to date - meticulous sound design, ghostly samples, forceful beats, diaphanous atmosphere - but pushes the sound even further in terms of both abstraction and beauty. This is electronic music of exquisite tension and ecstatic release, moving from barely audible details to explosive peaks, much of it delivered by earth-moving bass.Murcof first emerged during an exciting period of electronic music, operating at its cutting edge. Debut album Martes appeared on Leaf in 2002, when alternative possibilities enabled by advancing technology were just starting to come into focus. By combining stark beats - minimal techno, microhouse and glitch were all entering their heyday - with carefully layered sampling drawn in part from modern classical music, Martes was compelling in its moment but also looked to the future. It refused classification, even as its parts had clear antecedents. It grooved, but wasn’t quite dance music; it experimented with tonality, but each track was memorable. And it sounded like no-one else.

More than four years after his previous EP and after having released some remixes and collaborations with Agar Agar, Black Devil Disco Club or the Italian design studio Burro Studio, LeonxLeon comes back with a new EP, passing to the electronic shaker the styles of music listened since the last release.4 tracks all as different as each other with first Itanewa, where the Parisian producer tries for the first time to give voice, without vocoder, well aware that on a track inspired by South African productions of the 80s, an instrumental version only would not be enough to do justice. It is thus in a kind of invented Esperanto that the lyrics, a call to lightness and simplicity according to the artist, are distilled between synthetic bass, keyboards and other percussions.