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Bacao Rhythm & Steel Band Follow Up their 2021 “Expansions” album with another solid 7” offering. The A side, “Represent,” is one of the stand out tracks from Expansions. BRSB cover the DJ Premier produced Nas classic taking the original and expanding the arrangement with guitar and brass riffs. Tuba chugs along the drum break while the steel pans hammer out the infamously infectious melody of the original sample making this an easy winner in Hip Hop circles and beyond. The B side is a non-album cut available on this 45 for the ­rst time ever. Bacao covers the Mtume classic “Juicy Fruit” made popular again when The Notorious B.I.G. sampled it for his smash hit “Juicy.” This is a sure head turner when people realize they are dancing along to a new version of the classic melody

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

Big Yawn make experimental electronic music by fusing a wash of sweeping synthesizers, heavily refracted vocal sampling, motorik style percussion and disorientating dub FX.

Their latest studio release 'Pressure Acts' creates a space where breaks compete with live drums compete with drones. Relentless pummelling bass lines and kinetic dub FX come standard.

Big Yawn's energetic and unrelenting live performances create a definitive impression on this release. The sonic textures in the record are lush, stoned, frenetic and fun. The music is sinister yet also tongue-in-cheek — Phil Collins and Slipknot may have even been sampled.

The first single 'Ragazzo' is ideal for joy rides in HSVs and/or flaunting at the local disco parlor - a dank blend of YMO style pop hooks, driving bass, delicate synths, and a robotic pulse.

‘Hive Mind Records are here to help you through the winter months with this generous helping of Wet Tuna with their signature deeply fried rural psychedelia.

Matt Valentine (MV) and Pat Gubler (PG Six) have been jamming together since the mid '90s, floating around in the US psych-folk scene, playing together in Tower Recordings and separately with influential underground crews Woods, The Golden Road, Garcia Peoples and The Weeping Bong Band. Both MV and PG Six have been prolific with their solo work and over the years they've recorded for labels such as Ecstatic Peace, Drag City, Woodsist, 3 Lobed, and Crash Symbols and we are very happy to be joining such esteemed company.

On these recordings, made during the first months of the COVID lockdowns in the forests of the Vermont wilderness, MV and PG Six handle the guitars and synths but they're joined by fellow forest freaks S. Freyer Esq, Jim Bliss, Coot Moon and Carson 'Smokehound' Arnold on bass and drums. Brought to you in their patented mind-expanding SPECTRASOUND, Eau'd To A Fake Bookie Volumes 1 & 2 delivers an irresistible gumbo of deep, cosmic psychedelia, primitive drum-machine grooves and woozy country-funk jams. These 6 songs are cover versions of artists as diverse as The Blackbyrds, Michael Hurley and Jimmy Cliff, but stretched out over 4 sides, the album is entirely Wet Tuna - loose, free-flowing and lots of fun!’

Drums: Lloyd "Junior" Richards

Bass, Pick Guitar, Percussion: David "JAH David" Goldfine

Keyboards and Trombone: Andrew "Drew Keys" Stoch

Organ: Laurent "Tippy I" Alfred

Guitar: Andrew "Moon" Bain

Trumpet: Patrick "Aba Ariginal" Anthony

Recorded By: David Kennedy at Dungeon Studios, MIAMI

Mixed By: David "JAH David" Goldfine at Zion High Studios, FL

To a degree, all musicians are a product of their environment, the places they record and the venues they play. For proof, check out the alumni of the n-wave era CBGBs venue in New York, Cabaret Voltaire’s Western Works studio in Sheffield or more recently London’s Total Refreshment Centre.

We can now add to that list the Constellations Workshop in Colwick, Nottingham, a project that provides employment through making studio furniture, for out-of-work musicians. It was here, after-hours, that the music on Brown Fang’s impressive and ear-catching debut album took shape.

Both members of Brown Fang, bassist John Thompson and guitarist Henry Scott AKA Henry Claude, have a long association with the Constellations Workshop. Though their musical projects are manifold – Thompson having toured with the likes of The Nectarine No9 and The Selecter, with Scott being both a mainstay of Nottingham jazz circuit and recording ambient music as Fang Jr – the work provided by the community-minded project has kept their heads above water and allowed them a space to record in when the shutters go down and the bandsaws get switched off.

Yet the music showcased on Sherwood Pines is more morning-fresh and sun-kissed than industrial and sawdust-sprinkled. Combining the pair’s brilliant musicianship – think languid bass guitars and Pat Martino-esque jazz guitar licks – with saucer-eyed electronics, occasional downtempo drum machine rhythms and plenty of glistening special effects, the set’s eight tracks are as blissful and becalmed as an early morning saunter through Sherwood Forest on a misty autumn morning.

For proof, check epic opener ‘Tracing Paper’, a slow-build ambient soundscape in which bubbly electronic lead lines and colourful chords sashay around Scott’s sparkling, laidback guitars, and the beguiling ‘That’s All You Can Think’, a subtle tribute to Steve Reich masterpiece ‘Electric Counterpoint’ in which slow-burn, stretched out synthesizer sounds wave in and out of a gradually evolving cycle of delay-laden electric guitar motifs.

The band’s love of classic American minimalism – as well as a shared love of the Duratti Column and Robert Fripp – comes to the fore on ‘HDMI I Love You’, which boasts a deliciously dubby bassline, Tangerine Dream style synths and the deepest of ambient chords, while ‘I Nearly Married a Human’ and ‘Fridgewords’ balance bespoke electronics – languid, dewy eyed and comforting – with Scott’s gorgeously laidback, slow-release guitars.

Every great album needs a triumphant conclusion, and Sherwood Pines is no different. You can hear everything that makes Brown Fang great on ‘Goodbye Donkey Jacket’, from the pin sharp, effects laden jazziness of Scott’s guitars and the fluid dexterity of Thompson’s bass, to the pleasingly spacey pulse of the synths and the gentle rhythms of the soft-focus machine drums. It’s a confident, ear-catching conclusion to a debut album that’s been years in the making.

Tephra is the latest mesmerizing, propulsive EP by Philadelphia-based rave conjurer Furtive. With captivating woozy arpeggios, high-pressure textural progression, and sharp scintillating sound design, Furtive’s release is a fresh and powerful entry on Mild Fantasy - the brainchild of NYC-based DJ/producer Elle Dee.

Furtive is a full-gonzo rave rat, intractably committed to the dancefloor as a producer, DJ, and DIY event organizer. Tephra showcases a canny approach to creative techno dynamics most familiar to die-hard dancefloor supplicants who’ve both been in the booth and worshiping in front of the speaker stacks.

The EP kicks off with its namesake track: Tephra is a pressure-building whirlwind of dense, textural progression and explosive tension-and-release dynamics. Mounting from a muscular low-end pattern up to a dramatic break, Tephra is a proper warp-drive weapon.

With Strobe Bubble Romance, Furtive dives into pedal-to-the-metal rave acceleration with jagged arpeggio interplay and sharper sound design. In gentler, more romantic contrast, Iris Blur brings back a dizzying melodic progression to even out the blistering pulse of the former.

Question Accelerator (No Answers) is a trippy twist in the EP, comprising a high-torque psychedelic drum and bass journey. As a digital-only bonus, Furtive closes the release with Lullaby, a haunting ambient exploration.

A ferociously productive producer with over a decade of experience bending sounds, Furtive cut their teeth as a DJ and promoter in Washington, DC’s warehouses, where they also played a turnkey role in putting on some of the District’s zaniest techno parties. They’ve supported internationally celebrated non-nonsense acts and held court in dingy watering holes with eclectic selections and a steadfast focus on pacing, dynamics, and surprises. Beyond the fog and strobe lights, Furtive creates art in various mediums, including linocuts, render art, inky drawings, and tattooing.

Two monster sounds from The Trinikas circa 1969, the culmination of the female four piece’s short-lived career.

Recorded in Missouri and sneaking out on the Pearce label, ‘Black Is Beautiful’ was a post-hippie dance anthem that later made a short-lived appearance on their native west coast Century label.

A horn-led classic with a four-part vocal and a truly funky drummer in attendance, it’s a spiritual blast.

The B-side of the original single is dusted off here too; a funkier cut that’s turned up in a few DJs’ setlists thanks to a re-issue via Numero and Jazzman.

‘Remember Me’ with its staccato guitar, upbeat horns and swirling organ is an infectious head-nodder.

Remastered for full-on soul supremacy.

Joe Tatton, keyboard player with UK/US funk/soul jazz kings The New Mastersounds, releases this new 7 inch single in March 2022 and this time there is a lovely double A-side 7" physical vinyl option. Two tracks that showcase Joe's skills as a pianist and vocalist and confirm his talent for writing quality original compositions.

"Timeline" is Joe's spotlight on today's social media obsessed society delivered in the style of his musical hero Mose Allison. The latter was the legendary Mississippi born/New York based jazz/blues musician and singer whose wry and intelligent lyrics married to amazing original music shone a light on society and the world from the mid-1950s until his death in 2015. Mose was a huge influence on musicians like Georgie Fame, Van Morrison and Ben Sidran and was and still is one of Joe Tatton's favourite musicians of all time. This song is the title track for Joe's debut solo album due for release later this year on Rodina Music.

"Stomp" is a slow bluesy instrumental funk burner that has a New Orleans swagger about it and features Joe's grand piano solo followed by JTQ band member Gareth Lockrane cutting loose on the flute. If you like music by Allen Toussaint, Ramsay Lewis and Herbie Mann, you'll be feeling this one.

Joe Tatton has been a member of The New Mastersounds now for 16 years now and has recorded over a dozen albums and many singles with them playing organ, piano and keyboard. Annually, he tours 8-9 months a year with the band, mainly in the USA but also across Europe and Japan too. Prior to joining The New Mastersounds, Joe held down the keyboard role with UK jazz-funk kings The Haggis Horns appearing on their first two albums "Hot Damn!" and "Keep On Movin". He's also featured on piano/keyboards on the worldwide hit single "Put Your Records On" by Corinne Bailey Rae.

Over the years he has played live sets with Maceo Parker and Fred Wesley as well as Art Neville, George Porter Jr and Zigaboo Modeliste of The Meters. He's always maintained his own trio under his own name as a side project, releasing singles and EPs via ATA Records (UK) and Color Red Music (USA).
A few years ago, he needed to find the time and place to record them. So in 2020, between New Mastersounds gigs, he managed to book a few days at a studio near Nashville USA, "The Rockhouse", run by Grammy winning engineer Kevin Mckendree. He hooked up with a couple of Nashville session musicians, Steve Mackie (double bass - longtime Dolly Parton bassist) and Kenneth Blevins (drums), and put down all his original songs and also a cover of Mose Allison's "Ever since the world ended", the first single released last year

Now comes the second double A-side single and a further taste of what's in store from Joe and the band later this year when the "Timeline" album drops later in the year. However this time, there's a lovely little black vinyl offering for all the record lovers out there. Just a small first pressing which will no doubt sell out very quickly so people need to jump on it super fast. Once they're gone, they're gone.
"Time line / Stomp" double A-Side single by the Joe Tatton Trio. Released worldwide on Rodina Music - March 31st March 31st 2022.

Planet Mu presents ‘ADDLE’ – Bogdan Raczynski’s first album of new music in 15 years. Marking a change from the high-octane jungle tekno braindance for which he is most commonly known, here we find the Polish American musician in a more melodic and zen-like place of peace, which is ergonomic and decluttered, whilst also bittersweet and tinged with melancholy. ‘ADDLE’ is closest in spirit to 2001’s tender ‘myloveilove’, or the light-hearted ditties of this year’s ‘BANANS’ EP, but is also a markedly new milestone. A robust and bottom-heavy rhythm section juxtaposes with sad electronic tear jerkers, at points laced with the soft cooing wail of his vocals, which are loaded with a haunting, heavy and almost wounded emotion. Bogdan comments “Calm is great. You need to take a breather in the eye of the storm now and then. But the real growth happens in turbulence, when your feelings oscillate in and out of sync. It’s not dry land you’re after. You’re trying to build a new island while on a piddly raft. Beleaguered and weary you lay the foundation with your bare hands while the rain lashes your back; a new place for you and yours to moor yourself to until the next storm hits. ‘ADDLE’ is about that storm, its adjacent periphery, and what you look like, in and out, when you set foot. As space and time push against you, that process of adapting becomes an anchor. Among that state of being addled, out of flow, seemingly untethered, there is beauty.”

Although less unhinged and riotous than some of his previous work, ‘ADDLE’ is no less impactful. Lean, punchy and purposeful, this seemingly simple combination of beats and melody belies a razor sharp skill, which bursts with verve and virtuosity. Across its eight unique and moving tracks the listener experiences tenderness, feelings somewhere between unease and comfort, and a sense of reflection, with Bogdan seemingly gazing at twinkling stars, but with his view distorted by welling-up. Sonically, spaces range from razor-sharp choppage, juddering heavyweight head-nodders, bit-crushed siren squall and something akin to Philip Glass’ ‘Candyman’ score played through a high-tech-fairy-tale music box. There’s also a warming, life-affirming moment as close to deep house as Bogdan will ever comfortably get, neck-snapping metallic percussion, Casiotone on steroids and reverberant warehouse throb. Booming drum machines are a prominent factor too – reminiscent of early hip hop instrumentals – but spirited off somewhere, lost in purgatory. Bogdan Raczynski (born 1977) is a Polish-American electronic musician. Raczynski’s work draws inspiration from the chaotic breakbeats of jungle and hardcore rave as well as traditional Polish music and other sources. He has collaborated with Bjork, remixed Autechre, CLPNG and Jonsi from Sigur Ross, and toured with Aphex Twin, who commented how “his records are so underrated.” Bogdan was also a roster mainstay of Richard James’s seminal Rephlex label, with additional releases on Warp, Ghostly, Disciples and Unknown to the Unknown. A keen proponent of tech, he created a sample pack using pollution and recently collaborated with Polyend on a custom made banana-themed tracker.

Repress

We are proud to present the next release by Macca teaming up with Melinki with a banging 4 tracker EP showing their darker side of Drum & Bass.

Haze - released via Ki Records - is Greek producer and composer, Hior Chronik's latest creation. Aligning with his previous critically acclaimed album, Descent, Haze creates an electro-ambient world which accentuates modern classical minimalism. It is an album which deeply embodies tranquility, fulfilment and meaningful connection, aspirations born out of Hior Chronik's past in Athens, and realised by his relocation near to a forest in Berlin, where he can truly feel at-home, surrounded by the awe-inspiring beauty of nature. Through 15 tracks, Hior Chronik guides his listeners in an immersive journey which features magical soundscapes built using DX7 and Roland synthesizers, beats from the Lofi drum machine and Volca samples. Inspired by the best of his previous work in moody electro soundscapes, alongside his own history as a listener and lover of early 90's electronic music, artists like, Lali Puna, Solvent and Remote Viewer, this album demonstrates a new dimension to Hior Chronik's artistry which exudes light optimism.

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Bump 'n Grind Wax's newest relief channels a collective sigh of relief, one that promises to remind the world that joy and love can triumph through togetherness.

Bristol's sonic luminary, Rob Smith (aka RSD), has offered his support in this dynamic cover of Al Green's "Let's Stay Together." With a hint of lover's rock and a dash of neo-soul, RSD invites Denise Morgan to voice this timeless tune. On the A-side, prominent piano runs, synth stabs, and RSD's iconic drum section frame Morgan's deliciously-soulful approach to this classic. RSD brings the magic for the B-side version, "Let's Dub Together." With a blown-out bassline, Denise's tricked out vocal samples, and a thoughtful caressing of the track's timing, reverb, and echo, RSD adds his undeniable signature to the latest BnG Wax tribute.

A formidable architect behind the now-beloved "Bristol Sound," Rob has been an irreplaceable thread in the development of bass-heavy dance music since the 1980s. From raves to basements, lounges to sound system dances, Rob has pushed the limits of music technology to forge a vital link between the past and future. He is a pioneer who has explored the intersections of nearly every genre through dubbed-out breaks, drops, and quintessential remixes. BnG Wax is honored to have his fingerprints on one of our releases.

Swarm Intelligence continues to push techno into unchartered territories with a bold new self-titled EP and label. The debut EP explores emergent technology and dystopian themes. Autonomous weaponry is hinted at in the title of the first two tracks before the resultant human resilience of ‘The Glory Is You,’ and finally AI’s awakening and gaining of sentience on ‘Edge of Chaos’. Opener ‘Lethality’ is an intense and arresting weapon. Slamming kicks and frosty synths create a wall of impenetrable techno sound that will strike fear into any dance floor. ‘Slaughterbot’ is just as punishing and dark. Mangled vocals are locked in a prison of caustic synths and tortured drums as a post-apocalyptic meltdown plays out all around. There is subtle drum funk to ‘The Glory Is You’ that lifts you above the drama. Lithe kicks bring a sense of energy as haunting sequences, bright stabs and fizzing synths weave their way in and out of the mix. The brain-frying ‘Edge of Chaos’ closes down with monstrous effects, laser-like synths firing across the track and seriously weighty and distorted drums powering things along. Swarm Intelligence is the sound of an unknown techno future made brilliantly real.

With the two-part EP Mediterranean Dreams, Perugia producer and composer Feel Fly revisits his musical roots and pays tribute to the sounds and ‘sun-kissed nostalgia’ that informed his style.


Mediterranean Dreams Part 1 collected four tracks, and added that Feel Fly touch of emotive chord progressions and layered production onto cosmic disco grooves to powerful dancefloor effect. Now with Mediterranean Dream Part 2, Feel Fly switches the tempo both up and down, to fully demonstrate his affinity for club moments of all shapes and sizes.


Nebula flies out the gate with full intent, recalling classic Detroit techno while pushing the vibe even more wide-screen - it’s driving, melodic dance music that delivers on the fine details as much as it does on the life-affirming, big picture sentiment.


Optical Bells opens in meditative style, not unlike a new dawn in a Tibetan monastery, before each element of the track slowly reveals itself and assumes its place. It’s an arrangement technique that Feel Fly employs masterfully, and gives the impression of a camera lens moving into focus, or a storyteller setting the scene. The revolving chord changes pull you in and while whisking you away, you’re compelled to engage with the moment - like being asked to dance by a mysterious stranger.


The B side kicks off with Luce Eterna Ai Sognatori, still keeping the tempo high while cherry-picking disco house drum patterns and piano synths with a slight Italo flavor to create an irresistible slice of dancefloor dessert. This is a soundtrack for Sognatori, in whose dreams anything is possible.


The EP finishes up with a superb cut of echoey balearic dub in the form of Templum Dub. Putting the drums through its mixing desk paces, Feel Fly reanimates the drum kit with delays, phasers and flangers, and wraps it up in hazy drifting pads that could accompany any moment of contemplation - from that morning espresso to a midnight phone call.


Mediterranean Dreams Part 2 acts as the perfect compliment to its prequel Part 1, and shows a producer at the height of his powers, reimagining his musical roots and composing a love letter to the sounds and stories of his youth.

Open Space Club Tools is back with another versatile pack of useful machinery. Sticky drum beats and tricky rhythms for the explorative club deejay. Volume 2 features a wide range of club styles from Korean prodigy Mogwaa, Miami’s best kept secret Bong Soup, New York heavyweight Will Dimaggio, and Canadian-turned-Berliner Logan Sturrock aka FlØrist.

Keith Tucker and Marty Bonds (Reel By Real) collaborating.

K1 / MARTY BONDS ......A soon to be electro/bass classic, the track gets body’s jumping with a killer bubbly bass line in true 'K1' fashion. Hard drums, infectious bass, alien-like signature vocals to show off Keith Tuckers writing skills...the full package of Detroit funk and originally. Thoughtfully completed with an "instrumental" and a "Bassapella" version for those who like to manipulate their mix.
* "TO FLY"
An electro masterpiece brought to you by the legendary producer Mr. Marty Bonds. Deep street bass dances amongst the spectral electronic percussions and commanding vocal in an intense mission for those who like to get their groove on. Also a head-nod to the"Hellraiser 2" sample that inspired this composition. Heavy stuff as Marty Bonds goes into a whole new bag from his Detroit techno origins... A must hear & have

Toy Matinee had a short but celebrated career with their only album, the 1990 eponymous self-titled album. Their sound featured an array of influences, including progressive rock and pop. The band was founded by Patrick Leonard and Guy Pratt, who became friends after working on Madonna’s album True Blue. They added vocalist Kevin Gilbert, drummer Brian MacLeod and guitarist Tim Pierce to the band. The album was produced by Bill Bottrell, who also collaborated with Michael Jackson, Madonna and Electric Light Orchestra amongst others. The album was received well with the tracks “The Ballad Of Jenny Ledge” and “Last Plane Out” receiving wide play on rock radio stations.

Toy Matinee is available as a limited edition of 1000 individually numbered copies on blue coloured vinyl.

During 1978 to 1980, Fashion released one album and a handful of indie club hit singles mixing Punk & Reggae vibes. They toured the US extensively supporting The Police in 1979. Limited Edition of 800 copies 2LP set with printed inner bags. All tracks completely remastered. Contains every studio recording of the first lineup of Fashion including US singles. Includes unreleased tracks. Liner notes from lead singer & Guitarist Luke Sky. Fashion went through several line-up overhauls during its initial existence between 1978 and 1984. John Mulligan (synthesiser, bass) and Dik Davis' (drums) were constants, but the band's frontman changed with each of the band's three albums. Post-punk years: Fàshiön Music Fashion was formed originally as Fàshiön Music, in Birmingham, England, in 1978, and consisted of John Mulligan (bass, synthesizer), Dik Davis (drums), and Al James (vocals, guitar). James became known as Luke Sky, or simply Luke or Lûke (short for "Luke Skyscraper" - a reference to the Star Wars character Luke Skywalker and the fact that James was tall and thin), while John Mulligan was known simply as Mulligan and Dik Davis simply as Dïk (or "Dik Mamba" on their debut single). In 1978, they also founded their own Fàshiön Music label; from this point forward, the band was generally (though not completely consistently) identified as Fashion, as distinct from the name of their self-owned label. Fashion released their first two singles ("Steady Eddie Steady" and "Citinite") as independent issues on the UK in November 1978 and June 1979 respectively. The group was quickly picked up by I.R.S., who put out a third single in the US in September 1979, "The Innocent". Their sound was varied, playing punk, post-punk and indie repertoire, although Mulligan at that time also had a synthesizer which later characterized the future synthpop years of the band. Still signed to I.R.S., in 1979 they recorded and released their first album, Product Perfect. All three members were credited as having written the songs collectively. Between 1978 and 1980, Fashion played shows with performers such as Toyah Willcox, UB40, Hazel O'Connor, & Billy Idol, who later became well known. A then-recently formed Duran Duran opened their shows; they toured the UK with U2, both the UK and US with The Police, and opened for The B-52's on their first British tour. In March 1980, no longer associated with I.R.S., Fashion released their "Silver Blades" single, again on their own Fàshiön Music label. Later in 1980 they also released one more song, "Let Go", on a Birmingham bands compilation called Bouncing in the Red (EMI). In June 1980, after a last gig in London with U2, Luke James left the band, and later moved to the United States.

1987 LP Ernie Wilkins and his 'Almost Big Band' led by tenor saxophonist, composer and arranger Wilkins and featuring pianist Kenny Drew, drummer Ed Thigpen and trombonist/vocalist Richard Boone Ernie Wilkins (1919 - 1999) made phenomenal contribution to the big band music in the last five decades by composing and arranging for such major big bands as those led by Earl Hines, Count Basie, Dizzy Gillespie, Tommy Dorsey, Harry James and Clark Terry.
Wilkins moved to Copenhagen in 1979 and in 1980 launched his own Almost Big Band which consists of top musicians from Europe and USA.

"Under leadership of Ernie Wilkins music never becomes a mere parade of soloists. He builds up a piece and gives it a form of unity...Listeners will keep finding fresh surprises." - Albrekt von Konow, Orkester Journalen

Some things take time to happen, some things perhaps take a bit longer than they should but, finally, we are delighted to present an issue of the iconic, and sought-after, Brazilian album 'Alucinolândia' by Zito Righi e Seu Conjunto from 1969.

The trippy, surrealist 60s cover design with hands holding eyeballs is somewhat confusing. Rather than the stoner acid rock record that the art may suggest, 'Alucinolândia' is actually a quintessential 60s gem, mixing samba, MPB, bossa nova, quirky organ-led mod-jazz groovers and easy-listening crooners with a relaxed cool swagger.

Zito Righi aka Isidoro Righi, the Brazilian saxophonist, instrumentalist, conductor and composer brought together an illustrious cast for this masterpiece, including the much-loved vocalist Sônia Santos. Sônia delivers a masterclass on the album's opener, and maybe its crown-jewel 'Poema Ritmico Do Malandro’. The song is fierce and driving with an enticing funk intro that bursts into a Samba / Batucada workout. A real monster that works magic on the dancefloor. Sônia would later re-visit this track in 1971 on a recording for Copacabana Records, which Mr Bongo released as part of the Brazil45 series. The Brazilian songwriter Roberval penned three tracks on the record, including another highlight and the far too short 'Birimbau'; a catchy Brazilian jazzy-samba dancer at its finest. Other musicians include the drummer Fernando who also recorded with the greats Dila & Guilherme Coutinho.

The fact the record was released in 1969 meant it was probably a bit out of step with its contemporaries in comparison to the works of artists such as Os Mutantes, Gilberto Gil et al. The core of 'Alucinolândia' is that of a more optimistic early to mid-sixties party feelgood vibe rather than the angsty, psychedelia, and rebellion of the Tropicália movement. Over 50 years since its release, the work can finally be judged on its own merit; and what a beauty it is.

Repressed !

Back once again with the ill behaviour, this time with twice the drums on these new cuts hot like a dragons breath.

- Solid Purple Vinyl.

Platform 23 presents Ani-Roy, a project from friends Aniruddha Das and Gary "Roy" Stewart, who recorded two 12's of improvisational acid-house meets drone and samples in 1990.

They met over a love of principally reggae and post punk at Trent Polytechnic, Nottingham in 1982, and started combining equipment, to make tape loops and delays for exploring the basics of dub, all the while building their own Sound System.

This learning and experimenting converged their interests in early possibilities afforded for programming sounds and effects. They moved to London / Birmingham respectively and continued their collaboration until all things aligned in 1990. Coming together with Andrew Campbell, a community / social entrepreneur based in Nottingham - and with access to the Marcus Garvey Centre studios - they recorded two improvisational jams to 2 16 track; Ani arranging drum and bass lines, programming 'counter melodies' with a TB-303, and Roy looking after the ominous ambient loops, melodies, riot and Prince Far I samples.

The fact there were so many "versions" compelled Andrew to put the results out on two 12's instead of one. Fari 116 and Tilt were self-released on hand-stamped white labels.

Archival testaments, but set apart from the burgeoning acid house scene - here they are re-mastered and reissued some 30 years later by Platform 23.

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Quincy Jones Big Band Bossa Nova + 2 Bonus Tracks (Yellow Vinyl) “Almost every track here is a small classic that you’re bound to have heard somewhere, without realising what it was. “Manha de Carnaval”, Luiz Bonf‘s peerless melody, is another that surfaces constantly in movies and behind commercials. Likewise, Jobim’s “One Note Samba”, which varies the metre and changes the pace most effectively. Jones recognised that he had something that could change the metre and flavour of almost any piece. “On the Street Where You Live” loses its slightly plonking sentimentality and turns into a celebration of community. “A Taste of Honey” acquires a new and exotic quality.” Penguin Guide to Jazz “There are few albums more enchanting than this one, which finds the perfect balance, among other things, to make everything swing, and to make us dance better. And you’ll be amazed to hear the voices of Roland Kirk, Paul Gonsalves, Jim Hall and Clark Terry. Yes, all of them are here.” Jazz Magazine Personnel: featuring Clark Terry (trumpet) Phil Woods (alto sax), Paul Gonsalves (tenor sax), Rahsaan Roland Kirk (Stritch, alto sax), Lalo Schifrin (piano), Jim Hall (guitar), Chris White (bass), Rudy Collins (drums), Jos Paula, Carlos “Bala” G
mez, Jack Del R o (percussion), Quincy Jones (conductor). Recorded in New York, August 13 & September 4-12, 1962. *BONUS TRACKS: Quincy Jones and His Orchestra. Similar personnel as Big Band Bossa Nova, also including Rahsaan Roland Kirk (flute, tenor sax, Stritch). New York, June 15, 1962. Original session produced by Quincy Jones. Originally issued in 1962 on the Mercury single 72012


b a2 | Boogie Bossa Nova Aka Boogie Stop Shuffle

THE BEST OF SURF MUSIC IN AN EXCLUSIVE 3 VINYL COLLECTION ! BETWEEN CLASSICS AND RARITIES, BE CARRIED AWAY BY THE WAVE OF SURF ROCK !

Repress

To emerge from a global pandemic with a renewed sense of situational awareness, hard won insight, and a new album is the kind of move we've come to expect from THRICE over the last twenty years. With Horizons/East, Dustin Kensrue and his bandmates address, with candor and courage, the fragile and awkward arrangements that pass for civilization, while inviting us to dwell more knowingly within our own lives. Without surrendering any of the energy and hard edge of their previous albums, they've given us a profoundly meditative work which serves as a musical summons to everyday attentiveness. Since forming THRICE with guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge in 1998, Kensrue has never been one to back down from a mental fight. This mood is set by the opening synth-driven number "Color of the Sky," which sounds well-suited to accompany the closing credits of the Stranger Things season finale. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. A self-recorded effort, Horizons/East conveys a palpable sense of danger, determination, and possibility.

Wicked compilation with works by Ghanaian producer Dick Essilfie-Bondzie, soaring synths.., wicked grooves, smacking drums, hypnotising organs and bumpin' basslines. This one is fire!

INCL 12-PAGE BOOKLET

Gazing at the stars is looking at the past. The galaxies send you messages from thousands of light years away. That overwhelming feeling is present on Free Andromeda by Timothy J. Fairplay. An album grounded on earth while floating through eternity with a loose connection to the Milky way.

This nine-track record is, as always with T J. F. a delicately balanced mix between dark and light, analogue and digital, vast space and tight basements. With an impressing collection of premium synthesisers and drum machines, TJF showcases some of the most exquisite electronically generated soundscapes heard on this side of 1984. His sound on Free Andromeda can be described as leftfield inspired by various John Carpenter- and Italian horror movie soundtracks together with some West German Kosmische Musik.

Thimothy J. Fairplay, somewhat of a veteran on the label, makes deep and warm electronic music celebrating underground sounds from the last five decades. This album is no exception. For all you introverts dreaming of a life in the starshine – here’s Free Andromeda!

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie" Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

Tammo Hesselink inaugurates his newly launched imprint Rear View Memory, intended for occasional dumps of personal works. On this first release the Dutch producer combines his rhythmic side with his modern hypnotic techno approach. The A side contains two UK techno inspired tracks that lie between soundsystem-ready dj tools and atmospheric floaters. The B side contains a percussive techno-not-techno roller and a halftime drum & bass workout in collaboration with Romanian producer DYL.

Please welcome to the Time Is Now family one of the scene's most exciting talents. London-based drum specialist, Bluetoof, brings the heat with a multigenre 4-track EP, featuring a weighty refix from the likes of Manchester badman, and close compadre, Interplanetary Criminal. A multi-faceted EP to keep its listener on their toes. The title track gets things off to a steady start with a minimal bassline and complex percussion, inspired rhythmically by breaks but textured by layers of hollow drums which lend it a more organic sound. Next up, "Perilous" takes things on a darker, more bottom-heavy turn with a traditional two-step beat and a womping bassline, suited to the club's early hours. As to be expected, "That Got Dark" continues in the same vein. The focus remains on percussion with a skipping, half-broken rhythm which is interrupted momentarily by breaks overtaken by a stomping 4/4 beat. Finally, enter Time Is Now family member, Interplanetary Criminal, who extends the 4/4 propulsion to create a pacey speed garage banger.

Vinyl Edition of 300 copies

Aesthetical in collaboration with Sync presents "Detect" by Marco Monfardini.

Originally developed as an audio/video live performance, Marco Monfardini based his research for Detect on the decoding of inaudible sounds, sound generated by electromagnetic emissions left from electronic devices and inaudible to the human ear. By using various electro-smog detectors Marco Monfardini creates a sort of detection mapping where electromagnetic emissions are the starting point for the sonorous development of each single composition.

A path that creates a parallel with our lives by questioning how much these emissions affect unconsciously our choices, tastes and perceptions, seeking a relationship between the massive use of technology in everyday life and our emotional state.
The album Detect is developed in 15 tracks in continuous play, an imperfect, faulty mosaic inhabited by invisible beings manifesting themselves in the form of sound streams, mutable entities that find a definitive form in the pattern of the compositional structure.

The album opens with “aR1 detection", sounds of pure detection place themselves in the sound space giving the initial coordinates for the exploration of unconscious parallel areas. The boundaries transform and gradually expand until they flow into the structure of "kernel variations", a growing rhythmic pattern decodes the impulses projecting a perspective that dissolves in the unstable and fluctuating electromagnetic emissions of the subsequent "[a]3020t detection", "binary defect "and "core[2] ". “[A.box]emission” confronts the use of sound downloaded random from internet sample banks and the emissions generated during the download itself, micro sound fragments arrange themselves in an organized and regular pattern, shaping a rhythmic structure. The first part ends with the short “[sa]6030” and “[det]x1a”, absence and presence provide an alternation of movements, inaudible and elusive signals all trying to establish a contact with our perception. “det : scan” opens the second part of Detect, a sort of scanning, leaving EMF (electromagnetic field) textures, a static multilayer that progressively expands until it dissolves into the rhythmic emissions of a common smartphone “[4s]detection”.The track “[rs]zone” " is pushing itself deeper, two minutes of sound speleology that reveal the existence of sound artifacts that seem to vanish getting in contact with the light accented by the bass drum of "[det] 0100+" a constant, rhythmic pumping, a luminous pulsation that reveals an apparent void, which seems to subside entering in the winding and waving atmosphere of "conductive [area]" and "[s3] microfunktion". Detect comes to the end with “[emf]terminal” a mirror of the unarrestable technological acceleration intercepting the flow of data that feeds the system of communication , digital micro waste suffocates the living space by centering up the invisible in an unconscious map.

[a] A1

[c] A3

[e] A5 core[2]
[f] A6 [A.box]emission (2)
[g] A7

[i] B2 [4s]detection
[j] B3
[k] B4 [det]0100+
[l] B5 conductive[area]
[m] B6 [s3]microfunktion
[n] B7 [emf]terminal

Liebe, was sonst?
Warum sich immer entscheiden, wenn man beides kann. Sich in die Wolken träumen und dabei mit den Beinen fest am harten Betonboden stehen, bedrückend-raue Musik machen, die das Leben dennoch feiert und liebkost. Love A.M. denken groß und klingen groß. Packen düstere Synthie-Sounds und E-Drums mit schneidenden Post-Punk-Gitarrenriffs zusammen, wickeln das ganze dick in Dream-Pop-Zuckerwatte ein. Haben keine Scheu vor eingängigen Melodien, aber wissen auch, dass Ohrwürmer allein nicht genug sind.

In a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has established himself worldwide as a driving force in progressive rock. The multi-talented Dutchman is best known for his rock opera project Ayreon, but also regularly devotes himself to musical side projects that explore all different aspects of his musical personality

Lucassen is committed to maintaining a consistent vocalist lineup on Star One. For "Victims of the Modern Age," he reunited the high-powered cast of lead singers from the first album, "Space Metal" (2002): Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), and Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). The different vocal styles of these great vocalists, ranging from soaring power vocals to haunting melodic passages to brutal growls, give each song a stunning variety of vocal textures

As for the instruments, the Dutchman recorded the rhythm guitars, Hammond organ, Mellotron, Solina strings and analog synthesizers himself and invited drummer Ed Warby (Ayreon, Hail of Bullets, Gorefest) and bassist Peter Vink to provide the powerful rhythm tracks. He also enlisted the intimidating solo skills of former After Forever keyboardist Joost van den Broek and guitarist Gary Wehrkamp (Shadow Gallery), both of whom contributed characteristically blistering solos. In addition to this formidable lineup, Lucassen recruited three other vocalists - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze and former Black Sabbath frontman Tony Martin - for several bonus tracks on the album

For the first time, "Victims of the Modern Age" is available on vinyl as a gatefold 2LP+2CD & LP booklet, as well as a Ltd. 2CD digipack.

Belgian Metal frontrunners EVIL INVADERS are ready to unleash their third album, Shattering Reflection, on April 1, 2022 via Napalm Records! It took the band almost five years to craft a new record and it has been undoubtably worth the wait. EVIL INVADERS have found the perfect balance between fast, mid and slow tempo songs focusing on strong choruses, touching lyrics and even some progressive touches that will grab every Heavy Metal fan by the throat and screaming for more! EVIL INVADERS’s Shattering Reflection is promising to be a game-changer for the Belgian 4-piece as the band seems to have found their own formula to turn Heavy Metal into another extreme direction. Shattering Reflection takes off with a fast Heavy Metal banger “Hissing in Crescendo”, followed by the epic anthem “Die For Me”, already destined to become an EVIL INVADERS’s all-time classic. A calmer side is explored on tracks like mid-tempo opus ”Forgotten Memories“, creating a dense, heavy wall of sound with piercing vocals and ditto lyrics underlined by guitar solo virtuosity. That thrilling epos stands in line with “In Deepest Black”, which showcases even more how the band has managed to craft a pure classic Heavy Metal anthem with melodic guitar lines and catchy choruses, creeping relentlessly into the listener’s head. It also proves how Joe has matured as his vocals have entered a whole new dimension, both in the high and the low ranges. On the contrary, ”Sledgehammer Justice“ is a furious outburst of classic Thrash/Speed Metal in which the Belgian quartet goes full throttle with hammering rhythms and guitar solo madness! Another album highlight is the dark opus ”The Circle“, creating a horrifying atmosphere with stomping drums and excellent guitar lines. Fans of King Diamond will definitely dig this one! Throughout the album the band manages to keep the balance between fast Extreme Heavy Metal with sharp shredding and mosh-worthy tracks, as well as very melodic, more intense and chorus-oriented midtempo anthems. Shattering Reflection has turned out to be a monster of an album that will prove that in a new generation of Metal bands, EVIL INVADERS have been able to develop and mature record after record, just like the great classics did in the good old days. You will want to hear this record and also find out how EVIL INVADERS will deliver this masterpiece live on stage! credits

Chris Imler likes to play drums standing up. He‘s the dandy with the killer offbeat, or, as one major German newspaper once put it, the "Grand Seigneur of the Berlin Underground". He has been making his mark on countless Berlin musical affairs since long before the fall of the Wall, with The Golden Showers, Peaches, Oum Shatt, Driver &Driver, Die Türen, Jens Friebe, to name but a few. He has also been perfoming across Europe as a solo artist for the past decade.

In "Operation Schönheit" (German for "Operation Beauty"), he has recorded his most, well, beautiful album to date. But Benedikt Frey's warm production subverts its own beauty with a multitude of clanking and ingling synth sounds, making the work very much about the cosmetic surgery it performs on itself. It's all in the tradition of the more experimental and electronic side of post-punk in which Imler and his unique groove are rooted. It doesn't take insider knowledge of Berlin's post-punk underground to realise that that Imler groove consists of rhythm that sings, vocals that dance and a look that fits, as illustrated by "Disappoint Me", his latest video: https://youtu.be/YeVJ75ljjB8

Elsewhere - such as in "Movies" - the rhythm sings, less electronically reduced, into the acoustics of an old, high-ceilinged Berlin apartment; metal clatters, a zither trembles and Imler plays with the metronome. Sometimes he moves ahead of time, sometimes trails behind it. He always manages to be in his very own groove, which carries everything along. And this is precisely the essence of the Imler rhythm, which lends itself to being applied to the very rhythm of life: Stretch and compress your time and loop it according to your own groove! Optimise nothing but feel everything! And dance to it! Even when contemplating everyday information overload, as Imler's high-speed mumbling suggests in the hectic yet smooth opening track "Temperature".

But being the ultimate night owl he is, Imler manages to make even the odd bout of paranoia seem like a good thing: like some kind of krauty, groovy B-horror-soundtrack-inflected high-pressure environment, "Whip Me" is a cross between Conrad Schnitzler and Bauhaus. In the title track, whose lyrics were written together with Jens Friebe, he intones: "You want to be something greater / You break your leg / When it heals again / You break it again" and sounds like the most gleeful fatalist you can imagine. Because in his city, one can still lose oneself better than anywhere else - a night easily becomes a whole universe that can be traversed, marvelled at and played with, and one might find one's old self again only when hearing "church bells" and "small birds singing". At least that's how Imler illustrates it in "Emptiness full of stars", and it seems likely that those "stars" are the human companions of the Berlin night in question.

And so once again Imler becomes Berlin's most important cultural ambassador: that scene of the eternally, and somehow successfully, failing creatures of the night, once the envy of the international postmodern bohème, has, despite many claims to the contrary, not been completely "optimised away", and its attitude to life is perfectly summed up in Imler's groove. And, of course, his look. "Schau Hin" (German for "Look!"), he sings in the track of the same name, masterfully dubbed out with the help of Melbourne's Leo James.

Quite right! Look - and listen.

Yours, Johannes von Weizsäcker (The Chap)

Classic Bill Evans Trio album on 180g vinyl LP, plus a bonus CD that
contains the complete album + 6 bonus tracks

The LP contains an extra track from the same session not included on the original LP. "If there's any doubt that Evans is one of the freshest things to happen to the piano in the last few years, this album should dispel any such feelings. The trio is a closely integrated unit. The interplay among the three men is best illustrated in 'Leaves', wherein they carry on a three- way conversation, with bassist Scott LaFaro leading the discussion. 'Witchcraft' finds LaFaro making pungent comments on Evans' statements and drummer Motian egging on both of them. Here is an album with meaning - here is truth." - Don DeMicheal, DownBeat

HOROJO Trio is the soul-rocking rhythm and blues trio that won Best
Band at the 2020 International Blues Challenge in Memphis Drummer Jamie Holmes, singer/keyboardist Jeff Rogers and guitarist/singer JWJones (who also won Best Guitarist at International Blues Challenge 2020) have individually helped to create music that reached the Top 10 Billboard Blues Charts, was nominated for JUNO Awards, and have performed in live music venues internationally. Set The Record is their debut album.

The trio came together in a chance jam session that was so inspired, it left both the audience and the trio wanting more. Even before their first gig, the blues music media called them a "blues super- group". The band have performed at several top blues festivals and venues including a high profile spot on the stage of the Legendary Rhythm & Blues Cruise in January 2022.

2022 180g vinyl repress of 'Flight to Denmark', the best-selling SteepleChase album by legendary US pianist Duke Jordan Charlie Parker's favourite pianist and the composer of the famous "Jordu", Duke Jordan (b. April 1, 1922 in New York) ended his five-year seclusion from the jazz scene when he was invited to play and record in Denmark in 1973. This first recording by Jordan for SteepleChase turned out to be an enormous success which brought Jordan back in the spotlight. "I am convinced that this is Duke Jordan's finest record." - Jazz Journal

"A totally captivating listening experience." - Billboard
"Flight to Denmark is an essential album for anyone who enjoys substantial piano music." - Coda
Personnel: Duke Jordan (piano), Mads Vinding (bass), Ed Thigpen (drums).