Фирма Strut Records

Style: Electronic

Sofrito and Strut were collectively responsible for one of the most enduring compilations of last year with Sofrito: Tropical Discotheque which rightfully featured amidst our end of year Best Compilations & Mixes and more importantly shone a light on a collective responsible for some of the best parties in London and beyond. Given the widespread critical acclaim to that release, it’s little surprise that the tireless Strut would seek out Sofrito for a new compilation. Due out for release at the end of July, the fifteen track Sofrito International Soundclash has Sofrito selectors Hugo Mendez and Frankie Francis digging “deep to bring you a one-of-a-kind selection of music from Trinidad, Colombia, Dominica, Congo, Cameroon and beyond.” Furthermore, the press release states that Mendez and Francis have included some exclusive material, including a previously unheard Owiny Sigoma Band track, a Tropical Treats edit and the unveiling of Grupo Canalon, a new project from Nidia Góngora, the vocalist from Quantic’s Combo Barbaro. Sofrito’s go-to designer Lewis Heriz has once again been commissioned to oversee the design aspect of the release in his own distinctive style, and has also elected to “interpret Sofrito’s fresh perspective on the world” with a specially designed cut-out globe on a pull-out poster that’s included in all physical formats. Style: Worldmusic

Style: House

Record Label: K7 / Strut Style: Latin

Strut presents an all new compilation placing the spotlight on early house music and acid emerging from the UK during the mid to late '80s, 'This Ain't Chicago'. Compiled by respected DJ / producer Richard Sen (Padded Cell, Bronx Dogs), the album celebrates the heady era when UK producers were responding to the first wave of Chicago house and documents the underground clubs that first championed the music - as the early rave scene and acid house kicked in at London clubs like Shoom and Spectrum, deeper and darker house nights thrived like RIP at Clink Street, Confusion and The Jungle and in warehouse parties around East London. Manchester too adopted house music at an early stage, most famously at The Hacienda's Nude night. As well as an in-depth look at the music and the accompanying scene through the DJs and producers that were there, 'This Ain't Chicago' investigates media and clubland's attitude to the emerging sound during house music's early days, as early resistance from London's rare groove and hip hop scene gave way to an explosion of dance music and rave culture. Musically, the album draws on both underground classics and lesser known tracks including early outings by producer Julian Jonah, A Guy Called Gerald, Trevor Fung's Playtime Toons, Eddie Richards and Ian B's Rio Rhythm Band and Baby Ford. The compilation also celebrates a host of excellent but short-lived UK DIY labels including Ruby Red from West Midlands, G-Force out of Essex, Rhythmbeat, Chill and Catt. "This album features many personal favourites and the tracks were particularly inspirational to me as a DJ and clubber at the time," reflects Richard Sen. With current productions drawing heavily on early house sounds and production techniques, this album brings to light many previously unsung classics from the UK underground, still sounding as vibrant and relevant as during the early days of house. Style: House

Style: Afro/Funk/Jazz

Style: Pop Punk

Style: Electronic

Long-awaited official release of a concert recording that's existed as a legendary bootleg for yonks. It finds the afrobeat godhead in his Egypt 80 phase, with the insistent funk of Africa 70 giving way to a more chill, exploratory jazz. Still, this is Fela - even when he's mellow he's on fire. The crisply captured sound of the baying, buoyant crowd - every heckle, every whoop of delight - really adds to the experience of these four long jams, and Fela's spoken introductions are priceless. But it's the music, of course, that speaks most eloquently: 'Teacher Don't Teach Me Nonsense' is particularly wonderful, with solos to die for. If there's one tiny quibble it's that instrumental opener 'Serene, Do Right, Be Good' - which hardcore fans will remember from the bootleg - hasn't made the cut, presumably due to space constraints. But whatever: you probably won't have a better chance to own this timeless, effervescent music so beautifully mastered and presented, so you know what to do!