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We’re glad to be back with the second installment of our new series of DJ and Artist curated 12” mini compilations: Melodies Record Club.

Ben UFO is up next for volume two, following Four Tet’s selection a few months back. Available early October in loud 12” format and digitally. Here we have two tracks which have been staples in Ben’s DJ sets at different times, but neither were originally produced with a club setting in mind, which is why they’ve never been available in this format before.

On one side, we have “Drums” from Laurie Spiegel’s 1980 experimental electronics album “The Expanding Universe”, a collection of tracks produced between 1974 and 1976 using a computer playing the actual sounds by controlling analog synthesis equipment under control of the GROOVE hybrid system developed by Max Matthews and F.R. Moore at Bell Labs. Drums is a percussive seven minute computer generated workout inspired by Laurie’s interest in African and Indian musics, and which brings to mind the most far out kosmiche music of the period to modern day techno. A connection Ben has tried to make explicit by including it in his first BBC essential mix back in 2013.

On the flip we have a track by Olof Dreijer from the Swedish band the Knife who’s work you might also be familiar with under the moniker Oni Ayhun. Back in 2009 his artist friend Adnan Yildiz curated an exhibition called “THERE IS NO AUDIENCE” in Montethermoso, dedicated to public imagination. Adnan commissioned a single piece from Olof called “Echoes from Mamori”, that played on loop during the exhibition and was subsequently released only on CD. A contemporary piece more clearly indebted to house music, Olof built the track around arpeggios generated using sounds of frogs he recorded in the Amazon and birds around Berlin, fed into a sampler.

South London producer/musician, Ben Hauke, is se tto release his highly anticipated debut album,"Club Cute," under forward-thinking London-based label Touching Bass, run by Errol and Alex Rita. The dynamic genre-blending artist known for his electrifying music production, has been forging a path of his own over the last decade, and now it"s time for him to unleash his debut full length project, "ClubCute". Hauke collaborates with acclaimed artists and local peers such as Goya Gumbani, Katy B, ShyOne, Brother Portrait, Jadadsea, and more, showcasing his remarkable ability to seamlessly blend diverse influences into a cohesive musical tapestry.

This 10th Anniversary Edition will be one pressing and then gone, the album is remastered, pressed on Transparent Red Vinyl, features new sleeve art by Cold War Steve, comes with a fanzine and a flexi disc featuring an unreleased track.

To Celebrate the tenth anniversary of their groundbreaking debut album 'Sadnecessary', Milky Chance presents an exclusive vinyl premiere: a limited edition 7-inch picture disc featuring 2 acoustic songs.

With an acoustic version of the evergreen hit 'Stolen Dance' on the A-side and the fan favorite 'Stunner' on the B-side, this vinyl is a treasure for fans and music enthusiasts. Wrapped in the disguise of a homemade CD, it feels as if Milky Chance has personally handed over their old demos to you.

A vibrant kaleidoscope of sound, colour and emotion, British multi-hyphenate James Alexander Bright's new album 'Cool Cool' is set for release on 26th July via Athens Of The North. A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers span 10 songs that soundtrack fertile daydreams, esoteric dancefloors, languorous reflection, and wild excursions in nature and beyond. James' voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead on this new record. Whether tenderly caressing on the title track's beautiful soul minimalism or deployed passionately on boogie machine 'Straight Line'; it's an immediately recognisable signature. Impressive multi-instrumentalism sees him perform on guitar, bass, keys, programming, percussion, production and myriad quirky effects; across song subjects that cover searching for truth, imagining the distant future, teen nostalgia, relaxation exploration

Extra Soul Perception proudly unveils a new collaboration between two of the most captivating artists from the future soul and R&B scene. "Undercover Lover" is the culmination of three years of an organic creative partnership between Jamma-Dee and Qendresa - one that has manifested itself just in time to soundtrack summer in LA and London; their respective homes.

Following Jamma-Dee's celebrated debut album, "Perceptions," and Qendresa's recent midnight soul bomb, "2 Much", "Undercover Lover" is a highly anticipated release that emerges as an effortlessly smooth summer anthem.

The genesis of "Undercover Lover" was Jamma-Dee's irresistibly heavy beat, which underpins an intricate mirage of interlocking rhythms and textures, with the eclecticism that has cemented the producer as a mainstay of the West Coast soul-funk scene. Qendresa's songwriting prowess shines through in seamless hooks and vocal melodies that flow effortlessly over the production with bold and uncompromising energy. Gary Gritness's live bassline, introduced during an impromptu studio session, injects a deep groove into the track.

At the engineering helm, K15's expertise further elevates the record with a resonating richness and vitality. An instrumental version on the B-side allows listeners to experience the production and bassline on a deeper level.

The resulting sound is a collaborative effort that transcends borders and genres, delivering a record that is as heartfelt as it is infectious.

"Undercover Lover" stands as a testament to the power of collaboration and creativity, embodyingExtra Soul Perception's mission to facilitate transformative musical exchanges between artists worldwide.

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About Extra Soul Perception:

Extra Soul Perception is an artist development program that operates as a label, music agency, event curator, and producer of international musical residencies. With a mission to facilitate artistic collaboration across borders, Extra Soul Perception has garnered acclaim for its innovative approach to fostering creativity and diversity within the music industry.

Weniger als ein Jahr nach ihrem Album „Through and Through“ kehrt Baby Rose mit „Slow Burn“ zurück, einer Sammlung von Songs, die ihre Klangpalette von progressivem R&B zu einer raueren, reichhaltigeren und weitläufigeren Linse amerikanischer Musik erweitern. Hier behauptet sich Rose nicht nur als einmalige Sängerin, sondern auch als formidable Songwriterin, die die Punkte verbindet, an denen Muscle Shoals auf Psych trifft, Psych auf Jazz, Jazz auf Americana, und die richtigen Musiker bringen alles zusammen. Produziert von BADBADNOTGOOD, fanden Rose und die Band eine sofortige und scheinbar endlose Quelle der Inspiration; was als Einleitung begann, wurde zu einem Tag, zu einem Song, zu einer Nacht, zu „Slow Burn“. Baby Rose war bereits eine kraftvolle Performerin - sie kann die Bühne mit Robert Glasper teilen, ohne in Schweiß auszubrechen, oder einen epischen Film wie Creed III, für den sie den Abschlusssong sang, mit stählerner Zuversicht beenden. Als Rose sich das erste Mal mit BADBADNOTGOOD traf, war sofort eine Verbindung da, und gemeinsam nahmen sie die Leadsingle "One Last Dance" gleich bei diesem ersten Treffen auf. Es war Roses erster Freestyle-Song, und er brachte entscheidende Teile ihrer Vision auf den Punkt. "Ich wusste schon immer, dass es neue Räume und Sounds gibt, in die ich vordringen kann", erklärt Rose. "Ich war schon immer an verschiedenen Sounds interessiert, die diese raueren Texturen einbringen." Während die Geschwindigkeit ihrer Zusammenarbeit Rose begeisterte und überraschte, waren das Potenzial und die Endergebnisse es nicht. "Wir haben uns schnell bewegt", sagt sie, "und es war wirklich wie ein Wasserhahn. Sobald wir “One Last Dance“ hatten, wurde klar, dass alles fließen würde." Die Songs auf „Slow Burn“ wurden zum Teil von Roses Erfahrungen inspiriert, die sie auf den Fahrten zwischen den Wohnorten ihrer Familie machte: dem Lärm und Chaos von DC und der ruhigen Landschaft von Carolina. Rose drehte die Musik auf und ließ ihre Gedanken schweifen, um Raum für innere Monologe und imaginäre Dialoge zu schaffen, die man sonst vielleicht nicht zu hören wagt. Diese Momente haben etwas Verträumtes, und sie schwelen auf Slow Burn: Erinnerungen verlieren ihre Realität, Gefühle ersetzen Geschehnisse. Der Titeltrack zum Beispiel setzt sanfte, schlendernde Drums gegen Roses lyrische Wiederholungen, während sie diesen Erinnerungen - manche leben, manche fühlen - mit geduldigem, beharrlichem Verlangen nachspürt. Das herausragende "One Last Dance" kommt als Liebeslied getarnt daher, ist aber eigentlich eine Ode an eine verlorene Freundschaft und ein imaginärer Traum von einem weiteren Tag wie in alten Zeiten. Die Realität verschwimmt wieder mit dem Gefühl, der Gesang geht in ein Wiegenlied über, und BADBADNOTGOODs Bassist Chester Hansen bringt diese traumhafte Qualität in einen schleichenden, vorsichtigen, aber liebevollen Unterton. Tatsächlich haben die meisten Songs auf „Slow Burn“ dieses schleichende, schattenhafte Gefühl, als würden sie auf Zehenspitzen daherkommen: intim, aber ein wenig gefährlich, zärtlich, aber ein wenig geheimnisvoll. So vollständig und überzeugend dieses Werk auch ist, Slow Burn weist auf einen größeren, höheren Aufstieg in Baby Roses Zukunft hin.

Roy Porter was approaching 50 years of age at the time when he released his first album, breaking a long period of silence and aiming for a comeback. The album is a hot one, with a superb sense of rhythm and vigorous drumming that clearly conveys his ambitious attitude. It is also his most expensive album, with the original selling for over $1000. The album includes 'Jessica', one of his best-known songs, which he wrote for his girlfriend, a long jazz-funk song with a melody of indescribable melancholy and colour, 'Funky Twitch', with its percussive beat and lush horns & guitar, and 'Wave', which quotes a phrase from Jobim's classic song 'Wave'. The LP comes on clear yellow vinyl, plus a 7" featuring a Kenny Dope re-edit of 'Jessica'!

We Could Be Flying" is a rare and classic album by KARIN KROG, a world-class jazz singer from Norway, which has been loved since its original release in 1975. The presence of New York pianist Steve Kuhn, who also composes four of the nine tracks, creates a masterpiece that combines a mellow, gentle comfort with a jazz-like groove. The album starts off with the title track "We Could be Flying" with its solidly sounding rhythm and soulful Karin's vocals, followed by "Meaning Of Love," and the album starts off with a sound that is sure to please fans of jazz-rock. The fourth track is a cover of Joni Mitchell's "All I Want," which not only has a pleasant jazz feel, but also a groove that reaches its peak with the interplay of drums and piano and other instruments, making it a must for fans of jazz, rock, and American music. The sixth track, "Raindrops, Raindrops," and "Hold Out Your Hand" also challenge the listener with a danceable samba style, making this an excellent album in its own right!

The quality of the songs, including IMPRESSIONS, is also endorsed by the songs provided to CURTIS MAYFIELD and CHI-LITES, and the euphoric upsurge from the light guitar cutting to the percussive beats will get the floor going at once! Free soul full of killer songs including "DISCO CITY"!

Meditation Blue" was produced in Minneapolis in 1977 by Ernie Story, an SSW & producer who provided songs for The Impressions, The Chi-Lites, Curtis Mayfield, and many others. The simple jacket of this private pressing is very tasteful, but the high quality sound of this album has always been sought after! The album features the superb free soul "DISCO CITY" (A5) with its light cutting guitar and percussive groove, the instrumental number "The E Groove" (B2). The album is now finally being reissued and includes many gems such as "Chain Gang" (A4), a song with soulful vocals and a groovy band sound!

Wendel Harrison, whose style evolved with the times from "Tribe" to "Wenha," discovered a male soul singer in his hometown of Detroit, William Odell Hughes. This is the first album of William Odell Hughes (1981), a male soul singer discovered by Wendel Harrison in his hometown of Detroit, who evolved his style with the times from "Wenha" to "Wenha". The vocals are extended and sung with great grace from the high tones to the low back, and the mellow soul number "Where Am I" (M3) to the sticky 80's funk "Super-Funk-A-Ga-La-Listic-Freak" (M4) featuring synths, "Super-Funk-A-Ga-La-Listic-Freak" (M5), "Super-Funk-A-Ga-La-Listic-Freak" (M6), and "Super-Funk-A-Ga-La-Listic-Freak" (M7). (M4), and the disco-boogie killer tune "Cruisin'" (M1), the highlight of the album, all of them are full of floor-like sounds that concentrate the best parts of the early 80's! Of course, "Wendel Harrison" also provides full support as an executive producer and contributes a wide range of parts from songwriting to saxophone, flute, and chorus. This mega-rare album has been matured over 40 years and is finally being reissued for the first time in the world!

This is the first release from "Wenha", the successor label of "Tribe", which was established by Wendel Harrison in the 70's. This album is full of spirituality and blackness, and it retains the philosophy of "Tribe", but it also incorporates the smooth feeling of the early 80's. This is the first release from "Wenha", the successor label of "Tribe". This is the first release from Wendel Harrison's "Wenha" label, the successor to "Tribe" and a collector's item that has always fetched high prices for its original version, but it has been highly acclaimed not only for its rarity but also for its content, which has made many experts in the industry gasp in delight. This is a superb gem that has made many pundits roar not only in terms of rarity but also in terms of content! The players on the side include Phil Ranelin (Trombone), Harold McKinney (Keyboards), Roy Brooks (Percussion), and many other Detroit heavyweights, including Phil Ranelin (Trombone), who founded the Tribe together. The album starts with "Take Time Out" (A1) featuring soulful vocals, followed by the spiritual jazz "Pink Snowballs And Violet Skies" (A3) with its exhilarating bellow, and then the jet-black groove-filled jazz funk number "Where Am I?" (B1) is a truly historical document that beautifully captures the transition from the '70s to the '80s!
For this reissue, the 7inch "No Turnin' Back / Rocket Love" released at the same time on "Wenha" has been added to VINYL as a BONUS DISC, and a bonus track "Patrina's Dance" (B3) has been added to the LP. This is the latest reissue of the album in a completely new guise!








[h] C1. No Turnin' Back [7-inch]
[i] D1. Rocket Love [7-inch]

The Entertainers, a South Carolina soul band led by singer Earl Dukins, released their first single 'Livin' For The Summer' in 1980, which became a smash hit, and their first album in 1983. The band's first album, released in 1983, was reissued for the first time with an obi. The album features a selection of well-chosen covers, including Chai Lights' 'Hot On A Thang', Bobby Patterson's 'I'm in love with you', Turley Richards' 'I won't cry anymore' and 'What are we gonna do', as well as the aforementioned 'Livin' For The Summer', the gorgeous string-tinged middle tune 'I'm Leavin' and original songs, all of which are full of modern soul with an exhilarating blue-eyed soul - AOR feel!

BALTHVS is THE premier eclectic & psychedelic world funk trio from Bogotá, Colombia, sparking a counterculture revolution in their home country.

Cause & Effect is BALTHVS's second record. An evolution from its initial chill psychedelic sounds portrayed in 2020's 'MACROCOSM'. Owing to its Colombian roots, the album has plenty of Latin American rhythms, as well as ventures into Deep House, Turkish Music, Vaporwave, Trip-Hop and Disco. Their signature psychedelic elements are always present, ready to engulf the listener in a hypnotic trip across time, space, cultures, and different eras.

The name of the album reflects an ancient hermetic axiom. Nothing is accidental, everything is invoked. Chance or fate are names for a cosmic law not comprehended. Everything you do, consciously or unconsciously will come back at you, nothing happens without reason.

Trombonist Phil Ranelin, who founded the legendary jazz label "TRIBE" with Wendell Harrison and was an important figure in the Detroit jazz scene in the early 70's, is back with a newly mastered version. This album, released in 1976 as the last release of "TRIBE", is a historical piece that cannot be overlooked when talking about the Detroit jazz scene, spiritual jazz, and rare groove in the 70s! From the opening track, the dope "Vibes From The Tribe" (M1) overwhelms you with its supernumerary breakbeats, and the superb jazz funk of "Sounds From The Village" (M2) folds in with its gorgeous horn ensemble and waist-breaking groove, while the bossa flavors of "Rare Groove" (M3) and "Vibes From The Tribe" (M4) are a must-have for any jazz musician. The album is newly mastered and reissued with the latest specifications!

Wendell Harrison, who reiterates his passion as a jazz musician with the "Rebirth" label name on this album, is joined by his friend Harold Mckinney, another leader of the Detroit jazz scene, on the brilliant "Winter" (M1), a piano-driven opening number. The opening number "Winter" (M1), with the brilliant piano of his friend Harold Mckinney, who is also a leader of the Detroit jazz scene, is followed by "Love Dream" (M2), a light Brazilian jazz song that blends Leon Thomas' warm vocals with a bossa flavor, and the spiritual and freaky "He's He's He's He's He's" (M3), which is a powerful bluesy tune. He's The One We All Knew" (M3), a spiritual and freaky tune that Wendell blows with great gusto. The second half of the album continues the momentum, with the fusion-like title track "Reawakening" (M4) with Wendell's flute playing a light, mellow melody, and the percussive beat and horn section intertwining in all directions to create the jet-black funkiness of "Tons & Tons Of Ofamp" (M5), which is a great example of the jazz sound of the band. Tons & Tons Of B.S." (M5), which is a performance of maturity! He also performed "Where Am I," a Wendell Harrison song that was featured on the Tribe-era classic "An Evening With The Devil," in an innovative arrangement featuring Leon Thomas' vocals, as if tracing his own career. It is a masterpiece suitable for the launch of the new label "Rebirth"!

The group led by North Carolina-based singer/songwriter/guitarist Ron Henderson released this extremely rare album on the Los Angeles-based Chelsea label in 1976 -now priced at over 150,000 yen!- is being reissued on LP for the second time! As with the 2020 P Vine reissue, which has already skyrocketed in price, the cover is in the original Chelsea vinyl specification and the contents are in the reissue (probably boot) specification released in the 1980s with two additional singles from 1983, and also in 180g weight vinyl. Ron's singing is wonderful, with a hard and soft range from mellow medium, modern to crossover soul, ballads and funky, sometimes interwoven with falsetto! A great album that will make soul fans incontinent and weep!

Repress!

The Voices Of East Harlem were an ensemble of vocalists who for Just Sunshine Records recorded two albums under the direction of Leroy Hutson and Curtis Mayfield. Cashing In' is one of their most classic songs, a highly sought after track on original 7' fetches between £40 and £80 on the collectors market. First recorded and released in 1973 it has all the hallmarks of a Leroy Hutson composition and an established audience that crosses the boundaries of northern, crossover and modern soul. The song is coupled here with Take A Stand', another highly regarded and sought after modern soul room dance floor tracks, never previously released on 7' single until now

Barbara Lynn is a singer, songwriter and musician from a golden era of soul. While she is best known commercially for 'You'll Lose A Good Thing' (1962) there is so much more to her repertoire across ten albums (including 'You're Losing Me' from her Atlantic years classic album 'Here Is Barbara Lynn') and the 7' single 'Movin' On A Groove' remains her most sought after. It's a modern soul indemand anthem, first released in 1976, original copies have exchanged hands for £300. And the now the funkier flip side 'Disco Music' has become indemand in it's own right, this 7' reuniting the two sides as a very strong 45 release for DJs and collectors alike.

2024 Re-Release
Newly formed archival label Fresh Hold presents one of Australia’s most mysterious jazz long players - Singing Dust, in collaboration with Efficient Space. Almost bound for obscurity from its inception, the eponymous creation of Queensland-based jazz pianist Robert Welsh was originally issued in 1986 on Melbourne independent label Cleopatra Records. Rich in compositional sophistication and expressive performance, Singing Dust resembles a unique fusion of Indian devotional song, the jazz piano styles of Bill Evans and Keith Jarrett, English folk and Debussey’s tonal impressions, bearing little similarity to the dominant commercial and subcultural music of its time.

Representing a culmination of Welsh’s influences in and outside of music, the dynamic collection of seven compositions accompany the Ghazal devotional poems translated by Australian poet Francis Brabazon. While Singing Dust sits loosely within the spheres of exploration that many jazz players took into world fusion in the '80s, it stands alone in its bright searing light of truth, love and austerity.

A true work of dedication and posterity that will appeal to many serious music lovers, the album has finally been transferred and remastered from original tapes by Dan Elleson, superseding the imperfect 1986 pressing and fully realising Welsh’s expansive vision.

Atlantic records impresario Jerry Wexler had many strings to his bow, but undoubtedly his greatest stroke of genius was leading Aretha towards the Fame Studios in 1967 to conduct her first sessions for the label. A lady with many quite uneven Columbia albums to her name would turn the world of soul music upside down and reveal the Queen of Soul to the world. The music created was both harrowing and spine-chilling in equal measure, leaving everyone in its radius in a state of soulful euphoria.

“Can” was recorded during the ‘Hey Now Hey’ LA album sessions circa 1972, with Quincy Jones at the helm, and is a scintillating slow burner of exquisite beauty.
“I’m Trying” is a glorious 1969/70 outtake from her ‘Spirit in the Dark’ LP, cut at Criteria with Wexler and the MSS boys in tow.
A friend of mine recently alluded that you sometimes don’t realise the true greatness of a track until it is embossed in 7” vinyl. So true!

The unstoppable production powerhouse that is Paul Woolford aka Special Request is back with another of his frankly ridiculous run of releases. Never one to just drop a single tune, this year he has several albums on the way off the back of his superb re-imagining of the KLF's cult 'What Time Is Love?' and this Portals Box Set Project is one of them. It is a multi-part collection that "uses today's modern technology to bring you the sound of tomorrow" and each limited edition 12" comes with its own custom artwork by Nic Hamilton. As you should expect, these are all utterly monstrous bangers and this first part has the high-pressure techno bounce of 'Hectic' and 'Pure Potential' to welcome you to the Portal.

"The Remedy," is I G Culture's latest album under Likwid Continutal Space Motion, Culture draws parallels between the complex world of fungi and London's Underground dance music scene. Both are intricate networks that thrive beneath the surface, connecting diverse elements and influencing one another. The London dance music scene, like fungi, encompasses a variety of styles and genres, from drum and bass to Garage Dance Subcultures may go unnoticed to the casual observer but are musical corner stones in our society. Dance floors and clubs serve as spaces for communal healing, allowing people to let go of daily stresses and connect through music and dance. I G Culture's "The Remedy" celebrates this vibrant underground culture and highlights the interconnectedness of all musical styles. Through his innovative production and thematic depth, he underscores the transformative power of dance music, emphasizing its role in promoting well-being and unity. The idea of Fungi also is expressed in the artwork by Amsterdams 'Machine' with IG's direction, who used fungi in an original collage revealing a secret world.

Roy Brooks began his career in the 1950s and remained at the forefront of the US jazz scene until his death in 2005, starting with the Horace Silver combo in the early 1960s and continuing with the bands of such eminent artists as Stanley Turrentine, Yusef Lateef and Charles Mingus.
He was also a member of the legendary Detroit spiritual jazz label TRIBE and M'Boom (a cutting-edge project in which all members were percussionists) led by legendary drummer Max Roach, and had a huge impact on the US jazz scene.
Roy Brooks And The Artistic Truth, a spiritual jazz group led by Roy Brooks himself, is a group of highly purified Blackness and sharpened spirituality!

This is the ultimate in spiritual jazz, praised as one of the rarest, most spiritual and grooviest albums of all time, The tension-filled sound with strong black musicians such as Joe Bonner (Piano), Reggie Workman (Bass), Sonny Fortune (Alto Sax) and Cecil Bridgewater (Trumpet) is as "ultimate" as "ETHNIC EXPRESSIONS". A definitive spiritual jazz album!

The only album by Descendants Of Mike and Phoebe, a family band made up of Bill Lee and his brothers, who are also known as the father of Spike Lee, the director of films such as 'Crooklyn' and 'Do The Right Thing'. A Sprit Speaks. The great song 'Coltrane' by Bill Lee, also famous for his performance of Clifford Jordan, is a miraculous balance of dignified and beautiful piano tones and a heavy waltz beat. M3 'Chick Chick', which seems to have been dedicated to Chick Corea, is an up-tempo, fast-moving song. From there to the last track, 'Too Little, Too Late', a beautiful, tear-jerking piece that conveys the depth and greatness of 70s spiritual jazz!

This work has become more popular in recent years because of its gentle style. Of particular note is the masterpiece "Walk The Way Of The New World," which is beautiful to the core due to the balance between the mellow electric piano melody, light flute, a flowing track with female scat, and Madhubuti's heroic poetry. The plaintive and mystical tone of the song is ear-catching. The funky, high-speed jazz of "Talking Stick" and the fast-paced title track "Rise, Vision, Comin" are also superb. This is a masterpiece of an album that is even better than "Medasi".

This is the memorable debut album by Wendell Harrison, the founder of TRIBE, under his solo name, and is also known as the first version of "Message From The Tribe", which was released the previous year as the iconic masterpiece "TRIBE". The first version of "Message From The Tribe" (a.k.a. "Cliff Jacket"), which was released the previous year, is an updated version of the A-side that Wendell Harrison steered! The opening "Mary Had An Abortion" (M1) and "Consciousness" (M5), which quickly builds tension with its poetry reading and freaky sound that conveys a strong message in a deep voice, and the ferocious "Soulful Soul" by a young Wendell Harrison. The soulful "Vol II Angry Young Man Part I - Part II" (M3-4) is overwhelmed by the blows of the young Wendell Harrison, "Rebirth" (M6) is shaken by the heart-string-tugging horns against a tranquil soundscape, and "Mellow & Spiritual" (M7) is a mellow and spiritual masterpiece. Where Am I" (M2), a mellow and spiritual song loved by many DJs and diggers! All tracks have been newly mastered and reissued in the original 1st pressing jacket with full-size printed visuals!

Die 1970 von Schlagzeuger Bill Curtis gegründete Fatback Band unterschrieb bei Perception Records, die dieses Debüt 1972 in den USA herausbrachten. 'Let's Do It Again' wurde im Blue Rock Studio in New York aufgenommen und zeichnet sich durch den bald patentierten Fatback-Sound aus. Das Album enthielt Originale, darunter 'Street Dance' (1973 ein Billboard-R&B-Hit), 'Free Form', 'Take A Ride (On The Soul Train)' u.a. Es gab auch Coverversionen von Jimmy Webbs 'Wichita Lineman', David Gates 'Baby I'm A Want You' und dem Evergreen 'Green Green Grass Of Home'.
Viele Jahre lang vergriffen, bringt Ace nun einen wertigen LP-Re-Release mit voller Unterstützung von Bill Curtis.

Sun Reflector is the debut LP collaboration by Heffernan (Ivan The tolerable, All Structures Align, King Champion Sounds, University Challenged) and Pärk (Black Tempel Pyramid, Teeth Of Glass, Kosmonaut). Sun Reflector is steeped in a haze of primitive drum machines, fanned phase and sustained scuzz-rippled guitar chimes, an ambient electronic creation with emphasis on repetitive trance-inducing rhythmic pulsations of electronic sound and subtle counterpoints that slowly unfold as the rhythmic drive marches forth utilizing the Motorik 4/4 beat with the lysergic kosmische sonic textures of Cluster. With Heffernan (bass, guitars and drones) based in the Northeast of England and Pärk (synths, drones and loops) based in Colorado USA on the border with New Mexico - the portal they opened up between these environments creates a travelogue that unites physical and inner space, a series of trance induced states rendered in vivid colour, a delirious portal into the ether. ‘Harmonic Coast’ opens and is a heady downtempo affair, an earthly vibration that slips effortlessly between peyote peaking trekking trips & Balearic sunset vibes. The somnambulistic drift of 'The Sun' sets the stage with a series of shimmering, circular synth pulses where hidden details slowly emerge over multiple listens. Album closer ‘Fever Mirage’ creates a clear-eyed appreciation of the pastoral beauty that surrounds us, it’s a journey that summons up an occult-like dream of glacial arpeggios and whispering synths that pull your attention in to this hypnotizing listening experience. Sun Reflector is a collective sound in which a lot is allowed, and a lot is done. That combined with the compositional ingenuity where the heterogeneous timbres create a time travelled cosmic mysticism that summons up the spirits and visions of Harmonia, Cluster, Eno and Phillip Glass. Shimmering and transcendent we present to you for your listening experience ‘Sun Reflector’

Der gefeierte Pianist Joep Beving veröffentlicht sein erstes gemeinsames Album mit dem in Berlin arbeitenden niederländischen Cellisten und Produzenten Maarten Vos. Ihr Album vision of contentmenterscheint auf Nils Frahms Label LEITER und folgt auf die Zusammenarbeit an Henosis, Bevings drittem Album aus dem Jahr 2019. Die LP, die von Frahm im LEITER Studio im Funkhaus Berlin abgemischt wurde, enthält acht neue Kompositionen und ist sowohl auf Vinyl als auch über alle digitalen Plattformen erhältlich. Während Beving noch nie ein komplettes Album mit anderen Musiker*innen aufgenommen hat, kollaboriert Vos regelmäßig mit Künstler*innen wie Julianna Barwick, Nicolas Godin (AIR) und Alex Smoke. "Endlich ergab sich die Gelegenheit, mit ihm Musik zu machen." sagt Beving. "Ich versuche immer, kleine Welten zu schaffen, in die die Hörer*innen kurzzeitig eintauchen können. Die Arbeit mit Maarten und Nils hat mir ungemein dabei geholfen, dies zu erreichen. Maarten ist ein wahrer Klangkünstler und Nils ist, nun ja... der Meister des Klangs!" Aus ihrer mitunter düsteren Arbeit, entstand eine universelle Lobrede auf das, was der Pianist "Trost finden in der Akzeptanz des Unvermeidlichen" nennt. Aber das Album ist weit mehr als das. Es ist auch eine erstaunlich persönliche Hommage an Mark Brounen, ihren Freund und - in Bevings Fall - Manager, der nach einem mehrjährigen Kampf gegen den Krebs während der Aufnahmen zu diesem Album verstarb. Der Großteil von vision of contentment wurde im Juli 2023 in "de Berenpan", einem Wald außerhalb eines kleinen Dorfes in der niederländischen Provinz Utrecht, geschrieben und mit verschiedenen Synthesizern, einem Cello und einem Klavier aufgenommen. Das Album vermittelt gewiss auf mehreren Wegen eine Idee von Ruhe und Gelassenheit, sei es in unserer Welt oder im Jenseits. Es beginnt mit den blechernen Klängen von "on what must be", und endet mit ruhigen, fast aufmunternden "The boat". Zwischen diesen sensiblen 'Buchenden" liegt ein halbes Dutzend Tracks: Das geisterhafte "Penumbra", das dumpfe, nostalgische "A night in Reno" und das amorphe, beunruhigende "Hades". Vos" schwermütige Cello-Klänge auf "The heron" werden dagegen schnell von einer zauberhaften Klaviermelodie erhellt, die nur durch Geräusche gestört wird, die von einer übernatürlichen Präsenz im Raum zeugen könnten. vision of contentment ist eine wunderbare Hommage an das Leben und alles, was danach kommen mag - kathartisch, spirituell erweckend und letztlich voller Liebe.

Der ehemalige Type O Negative/Danzig-Schlagzeuger Johnny Kelly und der Gitarrist und Riffschreiber Dan Lorenzo (Hades/Non-Fiction) gründeten Patriarchs In Black Ende des Jahres 2021. Die Songs auf dem neuen Album "Visioning" vereinen Elemente des klassischen Doom Metals mit modernen Sounds sowie Ausflüge in den Hardcore/Crossover.
Gemischt und gemastert wurde das Album bei JROD Productions von Jon Cioicari.

Ihre Debütsingle "Demon of Regret" erschien im Januar 2022 und das komplette Album "Reach For The Scars" wurde am 1. Juli 2022 veröffentlicht. Ihr zweites Album "My Veneration" erschien am 6. Oktober 2023 mit mehreren Gastsängern und Bassisten.
Für das kommende 3. Studioalbum "Visioning" hat Dan Lorenzo zwölf neue Songs geschrieben. Neben Schlagzeuger Johnny Kelly sind wieder eine Reihe großartiger Sänger und Bassisten dabei, wie Dave Neabore (Dog Eat Dog), Karl Agell (Corrosion Of Confirmity), Eric Morgan (A Pale Horse Named Death), Mark Sunshine (Riotgod), Jason McMaster (Watchtower), Kyle Thomas (Exhorder) und viele mehr.

Die Songs auf "Visioning" vereinen Elemente des klassischen Doom Metals mit modernen Sounds sowie Ausflüge in den Hardcore/Crossover.
Gemischt und gemastert wurde das Album bei JROD Productions von Jon Cioicari.

"Es macht so viel Spaß und setzt die Sänger nicht zu sehr unter Druck, mit ein oder zwei tollen Texten und Melodien pro Jahr aufzuwarten. Ich schreibe eine Menge Riffs/Musik. Unser drittes Album kam sehr einfach zusammen. FUN FUN FUN" sagt Dan.

The UK’s first and only emo band Los Campesinos! return with their highly-anticipated seventh album, All Hell. It is perhaps their most ambitious and assured album yet, whilst simultaneously recalling everything we’ve come to love about LC! over their faultless discography. Recorded between October 2023 and February 2024, it is the first album to be wholly self-produced by band member Tom Bromley (having co-produced previous albums Sick Scenes and NO BLUES). The album is also self-released on the band’s own Heart Swells record label.

In the band’s words All Hell is an album about…

Drinking for fun and drinking for misery // adult acne // adult friendship // football // death and dying // love and sex // late-stage capitalism // Orpheus // day dreaming // night terrors // the heart as an organ and as a burden // suburban boredom // Tears of the Kingdom // the punks on the playlist // increments of time // climate apocalypse // the moon the moon the moon ///

Los Campesinos! have become one of the most important and influential cult acts in the UK since they formed in the mid-2000s. Starting out in the Cardiff indie scene and soundtracking Budweiser adverts, the seven-piece’s musical evolution since then has been slow, steady and remarkable. From the frenzied chaos of debut album Hold On Now, Youngster… (2008) through 2010 breakthrough Romance is Boring and the self-mythologising of latter day highlights NO BLUES (2013) and Sick Scenes (2017), their discography is an interconnected web of niche references, big swings and unflinching honesty.

Making self-professed sleeper hits for weeping dipshits, they’re as influenced by The Beautiful South as they are US emo, with emotional intensity and connection always at the core. Their lyrics are a treasure trove of football references, tales of romantic woe and painfully frank exorcisms, which have been tattooed across hundreds of fans’ bodies and served as comfort and insight during that break-up you had (there’s a reason the band’s tagline is “your ex-girlfriend’s favourite band”).

Now with the release of All Hell, Los Camp! approach their third decade as a band more brilliant, more potent and more vital than ever.

Die psychedelischen Hardrocker WORSHIPPER haben mit ihrem dritten Album "One Way Trip" ihren grandiosen Balanceakt zwischen klassischem Hardrock und Old School Heavy Metal perfektioniert, dem die Truppe aus Boston, Massachusetts durch eine gesunde Dosis Psychedelika zu einem rauschenden Höhenflug verhilft. Sowohl Rock als auch Metal drehen sich vor allem um die Hooks und Riffs der Gitarren, die das amerikanische Quartett als echte Leckerbissen in üppigen Portionen auftischt. Textlich werfen WORSHIPPER einen kaleidoskopischen Blick auf den menschlichen Zustand durch eine psychedelische Linse. Dabei wurde die Reihenfolge der Tracks durch den psychologischen Horror Thriller "Jacob's Ladder (In der Gewalt des Jenseits)" beeinflusst, in dem ein Veteran des Krieges in Vietnam von Flashbacks und monströsen Visionen geplagt wird, durch die das Album ein loses zirkuläres Konzept erhält. Als WORSHIPPER im Jahr 2014 gegründet wurden, war es für Sänger und Gitarrist John Brookhouse, Schlagzeuger Dave Jarvis, Bassist und Backgroundsänger Bob Maloney und Gitarrist Alejandro Necochea von Anfang an klar, dass sich ihre neue Band angesichts der hohen Konzentration gleichgesinnter und talentierter lokaler Kollegen deutlich abheben musste. Mit dem Ziel, etwas aufregend Neues auf den Tisch zu bringen, setzte die immer noch intakte Originalbesetzung auf makelloses, berauschendes und wuchtiges Material, mit einem Fokus auf das Schreiben von echten Songs mit eingängigen Melodien, unheimlichen Gesangsharmonien und Doppelgitarren-Großtaten. WORSHIPPERs Talent für eingängiges, episches Songwriting blieb nicht lange unbemerkt, und schnell hatten die Amerikaner einen Plattenvertrag in der Tasche. Es dauerte nur wenig länger, bis die universell gepriesenen Alben "Shadow Hymns" (2016) und "Light in the Wire" (2019) für weltweite Bekanntheit sorgten. Mit "One Way Trip" können WORSHIPPER nicht nur die hohen Erwartungen erfüllen, die an ihr drittes Album geknüpft waren, sondern die Bostoner haben hörbar Spaß daran, genau das zu tun, was sie am besten können: Großartige Songs für ein Album schreiben, das nur Volltreffer enthält!

Highly anticipated 3rd album by FIGHT THE FIGHT. "Shah Of Time" is their most ambitious record to date. Just came back from an extensive European tour with Leprous. Previously shared the stage with Satyricon, High On Fire, Hatebreed, Devind Townsend Project and more!

With a new line-up, a fresh inspirational breeze caught Fight the Fight. This led the band into a psychedelic metal universe and sent them into a genre bending fusion of prog and metalcore. This drift has sparked growing interest and anticipation to the bands upcoming
release. Fight The Fights third album "Shah Of Time" is their most ambitious record to date and is set to be released May 31st 2024. With three new singles out from the upcoming album, Fight the Fight have seen an exceptional rise in numbers gaining more that 30.000
monthly listeners on Spotify alone. The new constellation just came back from an extensive European tour with Leprous, after holding back on live performances in 2023. This year Fight the Fight are ready to fully blow the mind out of their rapidly growing new audience, and fans can expect even more exciting tours and live dates when the album is released.

Following a ten-year hiatus, multi-instrumentalists Rafael Anton Irisarri and Benoît Pioulard return with »How to Color a Thousand Mistakes«, their third LP together as Orcas. Building on the electronic minimalism of »Orcas« (2012) and the Twin Peaks-inspired haze of »Yearling« (2014), the duo have expanded their sound and vision into a full-spectrum ensemble.

In the time since their last major collaboration, Irisarri and Pioulard have done plenty on their own, while also traversing significant life changes: relocation from Seattle to New York, separation and divorce, illness, hospitalizations, and the loss of siblings, parents, and friends. Yet from these tribulations, they gleaned inspiration to reconstruct their lives, creating music with new collaborators and partners. Recorded in a variety of studios and cities including Brooklyn, Cambridge, Oxford, Seattle, and upstate New York, the resulting album, under the tutelage of UK producer James Brown (Arctic Monkeys, Kevin Shields, Nine Inch Nails), is a patiently-crafted beast, equally inspired by impressionism, British new wave, and dream pop.

With Irisarri’s guidance and Brown’s encouragement, Pioulard brings his velvety voice to its harmonized peak on songs like »Wrong Way to Fall« and the Durutti Column-indebted »Fare«. Where his most recent solo albums for Morr Music (»Sylva« and »Eidetic«) navigated foggy forests of ambient pop and stacked tape loops, here his characteristic blur shifts into focus with a unique degree of clarity and confidence. »How fare against balance do I / Navigate my errors?«, Pioulard sings in a heartbreaking tenor, echoing the album’s broader themes of introspection, grief, loss, trial and trauma.

Lead single, »Riptide«, is a summary of Pioulard’s life changes and personal upheavals in the past decade, »flitting eastward toward a yen deep in the past« and learning to glide through the tumult of ocean waves, as a metaphor for the punches one takes in pursuit of grace. Its towering, key-changing midsection arrives with the monumental drumming of Slowdive’s Simon Scott, a long-time friend and cohort who appears on most songs in the set. Scott’s quintessentially English, jazzier approach offers a balance of force and restraint as the backdrop for Irisarri’s majestic guitars, analog synth lines, and Martin Heyne’s Fender Rhodes counterpoints.

Second single, »Next Life«, began as a sketch by Scott, and reached its final form in the hands of Pioulard and Irisarri, at a point that each had endured major concurrent losses, finding a commonality in the need to gaze over the horizon while acknowledging the unavoidable bittersweetness of letting go – not only of people, but of routines, places, and expectations. It’s one of Orcas’ most nuanced pieces, with a mid-tempo, sunset glow that unfolds into a sparkling, slide-guitar finale as it disappears in the rear view.

On third-act highlight, »Bruise«, Scott is doubled on the drum kit by MONO’s Dahm Majuri Cipolla, whose Liebezeit-influenced metronomy anchors a nimble bass groove from Andrew Tasselmyer (of Hotel Neon), and some of the album's most syncopated, spaced-out interplay, courtesy of Puerto Rican guitar player Orlando Méndez (a childhood friend of Irisarri’s). Originally a droney, fingerpicked guitar demo, »Bruise« is the most storied composition here, having gone through almost a dozen versions and lyrical edits, with Brown distilling hours of improvised performances into the final arrangement.

Throughout »How to Color a Thousand Mistakes«, Irisarri uses his deep well of production experience to paint the stereo field with meticulously designed textures, exemplified on the slow burn of »Heaven’s Despite« and the heady rush of »Swells«. As a mixing and mastering engineer with Black Knoll, he has built a client list that reads as a who’s-who of modern, forward-thinking composition, including Temporary Residence, All Saints Records, and Ghostly International, among many others.

As with previous collaborations, Irisarri and Pioulard bring disparate styles and specialties to the table, but with an interpersonal dynamic that transcends friendship into brotherhood, their open-minded workflow and mutual respect are evident at every turn. »How to Color a Thousand Mistakes« brims with tight, complex art rock songwriting, masterful production, and sonic versatility, informed by a plethora of genres and tonal hues. The title might promise answers, but the gravitational center of the album is the dawning realization that, as you reckon with the infinite whims of the cosmos, there could be none.

Glasgow septet The Joy Hotel are announcing their debut album Ceremony with the release of its lead single, the surging and rapturous 'Jeremiah'. It’s a song that grapples with the idea of approaching unknowns, and how conflicting attitudes illicit different responses to the same situation. More directly, it’s about staring death in the face and choosing how to come to terms with it.

Newly signed to SO Recordings and with a debut album proper in hand, The Joy Hotel have become a word-of-mouth success story in the Scottish DIY scene, and have since taken their live show across the UK and Europe, playing festivals including Hidden Door, Doune the Rabbit Hole, Connect, TRNSMT, Twisterella, Latitude, Sound City and The Great Escape.

The band spent eleven days at Rockfield, the legendary studio in Monmouth, Wales, recording live-to-tape. When they left, they had a sound. It is often contradictory, in that it combines the songwriting sensibilities of pop and country with arrangements reminiscent of the psychedelic scene of the 60s, six-part vocal harmonies with elements of noise rock, beautiful balladry with a sense of humour, and a cinematic quality. The result of those eleven days is debut album Ceremony, a record that searches for the profound in the seemingly routine, and reaches out with arms wide open to wring celebration out of each moment.

Ceremony will be accompanied by a short film documenting the creation of the album called ‘Come The Ringing Bell’.

7A Records are proud to present our deluxe reissue of Mungo Jerry’s Electronically Tested. Released on July 19th, the album has been remastered and expanded with four bonus tracks and features extensive liner notes including Ray Dorset’s own recollections.

Electronically Tested, Mungo Jerry’s second album, was first released in March 1971. Even the title clued in listeners that this was no ordinary record. As Ray Dorset reveals, “I came up with the name of the album. Durex used to have ‘electronically tested’ written on their packets. I thought that was quite the talking point, if people in the know said, ‘That’s the same name as on the packet of condoms!’ It was taboo to mention stuff like that.” Electronically Tested offered hints of the familiar via its inclusion of the UK #1 Hits “In the Summertime” and “Baby Jump,” but elsewhere, the album was pure, eclectic Mungo Jerry. Every side of Dorset’s talents as a singer, songwriter, and musician came to the fore on Electronically Tested, with his bandmates John Godfrey, Paul King, and Colin Earl–as well as producer Murray– joining him to create a joyful noise: “It’s got a lot of tracks that could have been singles in their own right. It was good for me to be able to play all that kind of stuff”. Mungo Jerry’s singular sound has been described as rock, folk, blues, country, good-time music, jug band music, pub rock, and gypsy rock–and that’s just a partial list. One can hear all of those elements in the disparate, timeless songs that form Electronically Tested. How would Mungo himself describe it? “It’s kind of rocky stuff. It’s got social commentary. It’s got all sorts of influences in there. It’s really best to say it’s Mungo Jerry music.” Electronically Tested originally peaked at # 14 on the U.K. Albums Chart the week of April 14, 1971.

A song is a song until it isn't, until it's pushed to its limits and beyond to become harder, faster and more dissonant. The music on Oneida's 17th full-length album, Expensive Air, all started as tightly structured, melodic rock songs _ very much in line with the non-stop bangers of Success from 2022 _ but along the way, they changed. Bobby Matador sketched the structures of these songs from his home base in Boston, then sent the demos to Oneida's New York contingent: Kid Millions, Hanoi Jane, Shahin Motia and Barry London. "We were working out the songs in New York without Bobby. We would start out riding the riffs, and then Shahin and Jane would add wild, out-of-tune licks," said Kid Millions. "It seemed so perfect." Oneida has long straddled gray-area boundaries between the NYC punk/psych/rock world and the art/experimental world, playing at gritty rock clubs and elevated cultural institutions, including the Guggenheim, MoMA PS1, ICA London, MassMOCA and the Knoxville Museum of Art. The band has been known for extended live improvisational performances, collaborating onstage with Mike Watt, members of Flaming Lips, Portishead, Boredoms, Yo La Tengo, Dead C, Godspeed You! Black Emperor, and many others. Oneida's members juggle a wide variety of other music projects. Drummer Kid Millions has played with Spiritualized, Royal Trux and Boredoms and releases solo compositions under his own name and as Man Forever. Shahin Motia founded noise - punk's Ex-Models and currently plays in Knyfe Hits. Kid and Fat Bobby perform and release music as People of the North, and Bobby's outside projects New Pope and Nurse & Soldier each released new albums in 2023. Oneida's previous album, Success, came after a four-year hiatus, unleashing the band's pent up creative energy in a set of catchy, accessible, nearly poppy songs. Song structure remained important in the run up towards Expensive Air, but so was the instinctual, improvisatory interplay that has always been a part of Oneida's process. The band had been playing live together for two years, sharpening its attack and pushing its songs to go harder, faster and wilder. Oneida recorded Expensive Air in three sessions scattered across 2023, convening at Colin Marston's Menegroth The Thousand Caves studio in Woodhaven, Queens, whenever they had a few songs ready. Marston and the band mixed the album in February 2024 at Menegroth. The new album expands on what Oneida achieved with Success, but also pushes past it, laying down irresistible song structures then blowing them to psychedelic bits. "I found myself thinking about this record as a darker, looser, louder, counterpart to Success," Bobby explains. "Both records charge forward from the jump and mix the elliptical with the blunt, and longing with self-mockery. But Success is like laughing in a car gunning carelessly through an ice storm, and Expensive Air is how you laugh at yourself as the car spins into the ditch, or a tree. Same trip, but a little closer to the bone."

"15th anniversary pressing of A Day To Remember’s Gold-certified third album, Homesick. The two-LP set features the original album, two acoustic tracks and nine live tracks. Homesick features some of the band’s biggest hits to date, including “The Downfall Of Us All,” “If It Means A Lot To You” and “Have Faith In Me.” After its 2009 release, the album hit #21 on the Billboard 200 and #1 on the Independent Albums Chart, as well as KILLYOURSTEREO’s Album of the Year. "

2024 Restock

(180 gram pressing) A great 70s album by Os Novos Baianos - a wonderfully youthful group that was one of the bright spots in Brazilian music after the Tropicalia years. Titles include "Sorrir E Cantar Como Bahia", "Dagmar", "Vagabundo Nao E Facil", "Cosmos E Damiao", "Com Qualquer Dois Mil Reis", and "Os Pingo Da Chuva".

A great 70s album by Os Novos Baianos - a wonderfully youthful group that was one of the bright spots in Brazilian music after the Tropicalia years. The band had a style that mixed folksy percussion with honest personal songwriting, plus occasional touches of elements gleaned from the larger influences in Brazilian rock at the time. The album has a sound that's a lot more intimate than later work, with some especially great work on guitar and bandolim, and great production on the band's vocals. Titles include "Sorrir E Cantar Como Bahia", "Dagmar", "Vagabundo Nao E Facil", "Cosmos E Damiao", "Com Qualquer Dois Mil Reis", and "Os Pingo Da Chuva".