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Es ist ein Fall von popkultureller Archäologie. Eine Spurensuche der elektronischen Musik. Nach über 30 Jahren tauchen verschollene Tapes von Holger Czukay wieder auf, die er einst "zur freien Verfügung" eingespielt hatte. Eine Sound-Meditation von 1997, die nun erstmals neu gemastert im Original und in einer "Version" von die ANGEL (Ilpo Väisänen / Dirk Dresselhaus) und Zappi W. Diermaier von der Krautrock-Legende Faust vorliegt.

Die Arbeiten aus dem Czukay-Studio sind eigenwillige Klangstrukturen, die Mastering-Ingenieur Dresselhaus alias Schneider TM einschätzt als "futuristisches Kleinod, das für seine Entstehungszeit musikalisch weit vorne ist." Für ein abstraktes Klanggebilde "tief und emotional" wie er sagt. Eine Komposition, die mit Avantgarde oder Neue Musik nur unzureichend beschrieben ist. Ein echter Czukay eben. Die Genese dieser Aufnahmen führt in die freigeistigen 1990er, als Holger Czukay in Köln mit jüngeren Techno-Kollegen wie Dr. Walker von Air Liquide mit Beats experimentierte und sich ansonsten sehr für die leise Explosion der digitalen Medien interessierte.

Es war der Tech-Pionier und Medienkünstler Arthur Schmidt alias Gvoon, der ihn in langen Gesprächen auf die (damals futuristische) Data-Maschine "RealityEngine" brachte, mit der sich virtuelle Welten erschaffen ließen. Vom Full-Body-Tracking-System bis zum gemeinsamen Prototyp eines "Internet-TV-Senders". Darauf liefen experimentelle Czukay-Videos, die er mit neuen Samples und Klangfragmenten ausstattete. Später wurde eine kontemporäre Show namens "Czukay/Gvoon:Magazine" daraus und auch die "Can-Live-Soloprojekts" im März 1999, ausgestattet mit der Body-Tracker-Technik von Gvoon. Die DDR-Vergangenheit seines Tech-Sparringspartners Schmidt, der ihm von seiner Zeit in Stasi-Haftanstalten erzählte, setzte in Czukay einen kreativen Prozess frei. Er setzte dieses Trauma in Töne um und machte ihm ein musikalisches Geschenk. "Gvoon-Brennung 1", eine Gabe, die Schmidt "irgendwann" einmal verwenden könne. Einfach so. Ein Soundtrack, der ganz profan auf Digital Audio Tape übergeben wurde.

Über 20 Jahre später brachte Schmidt das "Czukay-Geschenk" für eine zum Kunstwerk umfunktionierte Verhörzelle des Ministeriums für Staatssicherheit (MfS) wieder zum Einsatz. Als Installation für einen stockfinsteren, bedrückenden Raum mit Gummiwänden. Hier stieß wiederum Dresselhaus auf das Material. Ihm wurde klar, dass er dort mehr hörte als irgendwelche 1990er-Fragmente: "Es ist irgendwie Blues-mäßig, auf eine kybernetische und abstrakte Art." "Mit einem sehr langsamen Groove, der einen die gesamte Strecke aufmerksam hält", sagt Dresselhaus. Er beschreibt den Mastering-Prozess sowie die Neubearbeitung in Form der "Gvoon-Version 1" als Balanceakt zwischen Respekt vor dem historischen Material und einer zeitgemäßen Studio-Bearbeitung.

Eine respektvolle Verbeugung zum 87sten Geburtstag von Holger Czukay im März 2025.

Chris Ryan Williams (trumpet & electronics) and Lester St. Louis (cello & electronics) work together as HxH (H by H). Their skills have seen them move smoothly across various situations, constantly carving out new terrain and working in new configurations of musicians at a rapid pace. While worth reading, their biographies capture only a part of their complex rhizome.

HxH started about three years ago. The project is a direct response to all their activity with others and more importantly all their future leaning sonic desires. Their debut album STARK PHENOMENA is both their first studio recording and their first physical release. The album is appropriately set to be released by KMRU on his growing label OFNOT. It’s an ideal introduction to their sound world and their approach.

HxH describe their music as “electroacoustic,” but until recently the presence of Black musicians in this field has been greatly overlooked and largely ignored, making this phrase only partially appropriate. What HxH do really is to always be unpredictable. Every gig is a new soundscape. Sometimes you might hear echoes of Autechre or Robert Hood but then the sound-field will open up into a new terrain all their own. Chris and Lester bring together techniques from across the sound spectrum of electronic music and also draw on their deep backgrounds in Jazz, Improvisation, Classical and Noise scenes to create a sound that is true to them. After all, these two have worked with the likes of Bennie Maupin and the music of Black Fluxus artist Ben Patterson. Their rhizome is deep.

One of the ways that their unique approach manifests is in their merging of both acoustic instruments and electronic instruments in real time. This is something few have managed to do – but their spontaneous leanings work in both complex and accessible ways because of their deep understanding of landscape crafting. You can hear this clearly on the track “Pyrex Vision.” Their approach makes it tempting to compare their music to Sun Ra jamming with Laurel Halo – a comparison that would be only partly accurate.

Chris and Lester note that the sounds on STARK PHENOMENA are “imbued with such hopeful, gracious care; one that is far flung from obsessive carefulness or fuck the world carelessness, but more a caring embrace without the fuzziness of nostalgia.”

They note that when they began working together, they would “always come back to speaking on our concepts of an architecture of the expanse,” noting that their live sets often take on the joyfully noisy task of “dreaming big.” For HxH it was essential that STARK PHENOMENA have a quality that is “almost sculptural.” They consider the album “an object to be viewed from all sides.” This kind of thinking has resulted in them directly engaging with numerous sculptors and artists including Torkwase Dyson. Shape wise HxH’s sound fields work in a parallel to Dyson’s black architectural works.

They also note that the opening cut “BEACH” (the opening and longest track from the album) was “written weeks after our first gig in a studio session donated to us by our dear friend jaimie branch.” And that Pyrex Vision “was continually being edited months after sending our ‘final mixes’ to KMRU.” Their sound sources and samples come from studio sessions, live gigs, durational installations, 3am improvised downloads and more.

KMRU notes: "I think there is an in-between layer on this record. I was first caught by the Pyrex Vision track which organically flows between monologue, subtle field recording, and instrumentation. It's such a beautiful track, evoking deep emotion through simplicity. STARK PHENOMENA effortlessly glides in between imaginative mosaics of sounds — free yet complex — unlocking memories within its layers."

Dogma, die treuen Wahrheitssucher, veröffentlichen ihr selbstbetiteltes Debütalbum jetzt auf CD und LP. Das Album erzählt eine kraftvolle
musikalische Geschichte, die tief in die menschliche Psyche eindringt. Frontfrau Lilith sagt: „Auf unserem Debütalbum enthüllen wir eine rohe und
unverblümte Erzählung, die den Kampf gegen aufgezwungenen Glauben, ungerechte Zensur und die Befreiung von unlogischen Überzeugungen
beleuchtet. Es ist eine Reise durch verlorene Unschuld und eine Rebellion gegen archaische Zwänge. Ein kühnes Statement, das die Auflehnung gegen
gesellschaftliche Normen einfängt. Es geht darum, sich zu befreien, unsere Wahrheit anzunehmen und die uns auferlegten Beschränkungen
herauszufordern.“
Lilith führte weiter aus: „Visuell ist das Album-Artwork eine gewagte Reflexion der Allgegenwart der Lust in der Menschheit, unabhängig von allen
Bedingungen. Es dient als kühnes visuelles Testament, das die Wahrheit entlarvt, dass Lust ein inhärenter Teil unserer Natur ist, frei von jeglichen
auferlegten Beschränkungen wie falscher Moral und unlogischem Glauben.“ Dogma fordert uns auf, die Rebellion anzunehmen und unsere fleischlich
Gelüste zu entfesseln. Sie werfen die Ketten der Bescheidenheit beiseite und beschwören einen Sturm der Sinnlichkeit herauf, der unerschütterliche
Aufmerksamkeit und leidenschaftliches Mitmachen verlangt

Die verbitterte Tochter eines toten Predigers, die in einem Exodus gefangen ist, schlängelt sich durch einen schwindelerregenden Ausbruchsversuch
aus ihrer erstickenden Erziehung, nur um am Ende in deren Fängen zerquetscht zu werden.
Hayden Anhedönia, die Frau hinter dem Vorhang, ist die Architektin der viszeralen und eindringlichen Welt von Ethel Cain. Nach über vier Jahren
akribischer Arbeit an ihrem Debütalbum und der dazugehörigen visuellen Welt wurde Preacher's Daughter im Mai 2022 veröffentlicht und von den
Kritikern hoch gelobt. Das Album fand großen Anklang bei der Fangemeinde ihrer Töchter und wurde von der New York Times, Vogue, NPR, Billboard,
Vice, TheFADER, NYLON, Paper Magazine, Pitchfork, W Magazine, V Magazine und vielen mehr bewundert.

Die verbitterte Tochter eines toten Predigers, die in einem Exodus gefangen ist, schlängelt sich durch einen schwindelerregenden Ausbruchsversuch
aus ihrer erstickenden Erziehung, nur um am Ende in deren Fängen zerquetscht zu werden.
Hayden Anhedönia, die Frau hinter dem Vorhang, ist die Architektin der viszeralen und eindringlichen Welt von Ethel Cain. Nach über vier Jahren
akribischer Arbeit an ihrem Debütalbum und der dazugehörigen visuellen Welt wurde Preacher's Daughter im Mai 2022 veröffentlicht und von den
Kritikern hoch gelobt. Das Album fand großen Anklang bei der Fangemeinde ihrer Töchter und wurde von der New York Times, Vogue, NPR, Billboard,
Vice, TheFADER, NYLON, Paper Magazine, Pitchfork, W Magazine, V Magazine und vielen mehr bewundert.

“… it was dance music, it had lyrics, it had songs, it wasn’t all instrumental, it was basically uptempo soul music, to be exact.”*

This quote from Timmy Regisford already sums up everything you need to know about his remix of Basic Black’s “Don’t Make Me Fall In Love.” Signed to Motown during Regisford’s reign as vice president and A&R, their self-titled debut album from 1990 is a testament to the massive popularity of new jack swing at the time. In his remix, the co-founder, resident DJ, and key figure of Club Shelter reconfigures the song’s structure with the signature sounds of New York’s prime dance floor scene, while preserving the heartfelt storytelling of the lyrics and the group’s voices on top of an irresistible groove and a bassline to die for.
At the time, it was only available in the record crates of the Big Apple’s DJ elite and later on as a white label in specialist shops. This soulful, yet driving piece, however, never saw an official single release—until now. Lifted from a DAT tape in Tony Humphries’ archive and carefully and faithfully restored, it now even features a condensed, never-before-released instrumental version of the remix, as well as a bass-and-beats-only edit for mixing purposes by yours truly. New jack swing transformed into New York club music by a king. This remix is a testament to Timmy Regisford’s prowess in the studio, but also honors the roots of the music he loves and grew up on—serving as a perpetual piece of the city’s vast history in underground dance music.
Gerd Janson

KEY POINTS

• Collector Crystal Clear LP deluxe packaged – the very First reissue of the cult 11 track EP – Street Album from year 2000 by DJ Mehdi collecting his Espionnage adventures

• “DJ MEHDI : Made in France” : an Arte 6 episode exclusive serie about DJ Mehdi from September 12th ! DJ Mehdi was the one building bridges between french hip hop and electro, and becoming a key composer,producer and DJ. He was a game changer in himself, helping both french rap & electro scenes to rise in the late 90’s & early 200’s . 13 years after DJ Mehdi’s sudden death, his long-time friend and Director Thibaut de Longeville imagined & directed the serie, with archives materials & exclusive interviews and words from big names from Rap & Electro about their collaborations & relationships with DJ Mehdi.

SHORT BIOG

“Rather than a compilation, this record is a summary of what Espionnage has done in the past two years, from the rap 12”s, the instrumental 12”s to the remixes I was given the opportunity to do. The members of The Espionnage Sound System, Yvan from Double Pact included (even if he only appears here on the interlude betweeen “Camille Groult Starr (rmx)” and “Si Tu Savais (rmx)”), have been essential to the label’s development as a whole. The Chronowax Distribution staff has been equally vital to a structure primarily dedicated to independent vinyl production. By the way, I have to thank Ulysse Genet who, on top of lending his name to a track title, suggested the name “Espionnage” instead of “Le Cirque Disques” (which was my initial idea) and drew the first logo. Many thanks to my team : Olivier Rosset, Charlotte Dutoit, Thibaut de Longeville, Alexander Wise, the 360 Creative & Marketing teams, as well as X2N, Tom Kan, DJ Gilb’R, Roulé, Crydamoure, Benoît Blue Boy and his daughters Ludella and Amadine ; who have all contributed on one level or another to what this record is. Of course I can’t forget my family: the Essadis, Faveris, Gassamas, Majira (and their many relations) as well as my other family, the 113 Clan and the whole African Mafia and most particularly my group, Idéal J, for the respect and freedom with which they’ve let me express the somewhat unusual ideas I had about all of this”.
Peace, DJ Mehdi, NYC, March 29th 2000.

A once shocking 1962 LP of love songs…by men, for men. A long lost treasure featuring the cool & sophisticated vocals of Gene Howard and a cast of prime studio jazz musicians, performing a set of standards sung to a male suitor. Ahead of its time in every way. Decades ago, JD Doyle, renowned LGBT music historian and archivist, happened upon a copy of Love Is A Drag. Doyle would often play cuts from it on his radio show, Queer Music Heritage. He remained intrigued by the lack of either artist or producer credited on the album. A vague line of jacket text ambiguously announced, “For Adult Listeners Only - Sultry Stylings by a Most Unusual Vocalist.” And, the facts behind the album would have most likely remained unclear if it were not for one Murray Garrett Out of the blue, Murray Garrett contacted JD Doyle and wanted to talk about the album. According to Garrett, through his photography career, he had forged a friendship and partnership with prolific big band vocalist, Gene Howard. The two worked together on projects, eventually teaming with Jack Ames, founder of Edison International Records. When queried for ideas for a potential Edison International release, Garrett recalled a performance he had once seen in Greenwich Village - a performance of a man singing love songs to another man, in serious fashion, i.e., not at all campy or overly-dramatic. Gene Howard (straight and happily married!) agreed to sing on the record, accompanied by a who’s-who of Los Angeles A-list session men. Upon release, the record sold well in Hollywood, with Frank Sinatra, Liberace, and Bob Hope among its biggest advocates.

The Venezuelan composer Oksana Linde presents Travesías, her second album released by Buh Records, featuring pieces created between 1986 and 1994 in her private studio in San Antonio de Los Altos, Venezuela. These works belong to the same creative period as the pieces included in her acclaimed debut album, Aquatic and Other Worlds (Buh, 2022). Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde's journey is an example of resilience and innovation. After abandoning her career as a chemist due to health problems, Linde devoted herself to music, experimenting with synthesizers to create a deeply evocative sonic universe. She produced a vast number of recordings during the 1980s, many of which remained unreleased until the publication of Aquatic and Other Worlds. This new collection of pieces, taken from the extensive archive of cassette tapes preserved by Linde, unveils yet another perspective of her work. The pieces "Mundos Flotantes" (Floating Worlds), "Horizontes Lejanos" (Distant Horizons), and "Arrecifes en el espacio" (Reefs in Space) were specifically composed for the show Travesía Acuastral (Aqua-Astral Journey), presented by Linde in February 1991 at Casa Rómulo Gallegos as part of the 3rd Encounter of New Electronic Music. This event, produced by Maite Galán in collaboration with the Musikautomatika group, was a milestone in shaping an experimental electronic music scene in Venezuela, one of the most active in Latin America at that time. Linde also composed a series of pieces for use in meditation sessions, four of which are included in this compilation: "Luciérnagas en los manglares" (Fireflies in the Mangroves), "Estrellas I" and "II" (Stars I and II), and "Kerepakupai Vena." The latter refers to two words from the Pemón Indigenous community in southeastern Venezuela, meaning Angel Falls, the name of the world's tallest waterfall. Travesías solidifies Oksana Linde's position as an essential figure in electronic music and furthers the effort to bring to light one of the most fascinating archives of electronic music produced in Latin America. This compilation is released through Buh Records in a limited edition of 500 copies. Compilation and liner notes by Luis Alvarado. Mastered by Alberto Cendra at Garden Lab Audio. Cover photo by Elisa Ochoa Linde. Art and design by Gonzalo de Montreuil.

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

Also includes a large double sided poster , colour inner sleeves and liner notes by Gerald V Casale.

Spuds rejoice. After years of requests, Futurismo are thrilled to announce a brand new limited pressing of the DEVO’s incredible Recombo DNA 4xLP with Mini CD Set, plus also available is a brand new 3xCD version.


For decades Devo have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us. That extensive research is now ready for public consumption once again. Futurismo were the first to bring you this on vinyl and now they present unhindered access into Devo’s labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008.



This tireless research has manifested itself in Recombo DNA…an unmissable collection of studio demos and unreleased rare tracks that span Devo’s entire recording career, from their original basement days to their famed ’Freedom Of Choice’ era, right the way through to unused demos from their last studio album. You may know the track ‘Baby Doll’ but do you know it’s original incarnation as ‘Satan’? If you submit to the findings of Recombo DNA Labs you will, Futurismo’s version of this compilation includes six bonus tracks taken from the archives that had never been released, or even heard before.



This limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America’s most important bands. But this set doesn’t stop at four beautiful slabs of mutated vinyl, also included is ’The Somewhere Suite’ served up on the format it was originally intended to be back in the May of ‘89, advertised although never released, it’s contained here in all it’s full length glory on a 3” Mini CD. Recombo DNA is also coming on a 3xCD digipak version for the very first time from Futurismo, including all the wonderful artwork and bonus material. Devo’s Recombo DNA is an essential addition to the collection of any science fearing spud, and the perfect sister release to last years Art Devo. The original 2017 pressing of Recombo DNA sold out in less than 48 hours, so grab this while you can. Each set includes 4xLP on limited edition coloured vinyl and includes a Mini CD. This fantastic collection of devolved recordings and bonus tracks are contained within the gloss laminated wide spined sleeve, with newly tweaked artwork, a huge A1 poster, full colour inner sleeves and liner notes by Gerald V Casale. A 3xCD digipak version is also available. Submit to these findings and witness audio mutation in action.

Orange Vinyl. Benefits return with the their highly anticipated second album, "Constant Noise" Due out 21st March via Invada Records,"Constant Noise" follows the band's debut album `NAILS' which earned widespread press and radio support and appeared in album of the year lists inc. Louder Than War (#1), BBC 6Music, NME, The Quietus,The Line Of Best Fit and more. After a succession of different line-ups, Benefits have now settled as a two-piece made up of Hall and electronic virtuoso Robbie Major. "We're still angry" says Hall, "just angry in a different way to before. If the previous record was black and white, we wanted this to be technicolour." The first taste of this new musical direction came in the form of "Land Of The Tyrants", which saw the band delving into bass-heavy, dance inflected rhythms and subtle industrial undercurrents. Follow-up single `Relentless' featured The Libertines' Peter Doherty and saw the band move further into ambient electronic atmospherics. Doherty is just one of the collaborators on the new record, Zera Tonin, the singer of queerpop-electro duo Arch Femmesis, Neil Cooper of Therapy?, and Middlesborough rapper Shakk all make cameos. In addition to the guest musicians, the album also features production from James Welsh (Phantasy Sound), and James Adrian Brown (ex-Pulled Apart By Horses)who helped to guide the new direction. The result is an album that gleans as much from the likes of Underworld and Leftfield as it does the likes of The Streets or Beastie Boys in their pomp, or even the 90s / early 00s Indie Sleaze-era. Orange vinyl comes with full album download (inc. two tracks not on vinyl)

Warm welcome to the label this time comes to the duo of producers from Netherlands called pH Project. The musical union formed by Pelle and Herra that are both have been doing what they do for many years and played alongside as well many admirable artists which you can find on the archives of the internet if the curiosity will get the best of you. The maestros of the project have provided us with 3 ready to tremor up the speakers cuts with their signature groove and knowledge that they have acquired in the trenches of rave during their activity on the scene. Finalising this 12” vinyl cut is Levat, the producer who doesn’t need introduction as his persona and non-stop dedication for music speaks for itself. Taking non-standard approach of taking stems from all the originals hence the name of the work is “Thritrakk”, combining the elements of all three tracks we have this dark electro monster audio gracing the B2 side. The work of a collaboration of styles and sonically dedicated minds have resulted into this EP “Obvitrip” coming to life for us to enjoy.

LOS TRES PUNTOS : the enthusiasm of ska and the rage of punk rock inherited from the 80s french alternative movement, combined for an explosive cocktail to wake the dead! Unbridled rhythm, relentless brass section, unifying songs in French and Spanish ; the band has scoured concert halls in France and abroad.

This "live in Mexico" was recorded in November 2023 in front of 60,000 people at the Skatex Festival in Mexico City, celebrating the 30th anniversary of the group.

14 Tracks taken from the best of their discography, played with the energy and experience of the Los Tres Puntos gang.

Benefits kehren mit ihrem mit Spannung erwarteten zweiten Album "Constant Noise" zurück. "Constant Noise" erscheint am 21. März über Invada Records und folgt auf das Debütalbum "NAILS". Nach einer Reihe verschiedener Besetzungen haben sich Benefits nun als Zwei-Mann-Band etabliert, bestehend aus Frontmann Kingsley Hall und dem Elektronik-Virtuosen Robbie Major. "Wir sind immer noch wütend", sagt Hall, "nur auf eine andere Art als früher. Wenn die vorherige Platte schwarz-weiß war, wollten wir, dass diese Platte in Technicolor erstrahl". Der erste Vorgeschmack auf diese neue musikalische Richtung kam in Form von "Land Of The Tyrants", bei dem die Band in basslastige, tanzbare Rhythmen und subtile Industrial-Unterströmungen eintauchte. Bei der Nachfolgesingle "Relentless" wirkte Peter Doherty von den Libertines mit, und die Band bewegte sich weiter in Richtung elektronischer Ambient-Atmosphären. Doherty ist nur einer der Mitstreiter auf dem neuen Album. Zera Tonin, der Sänger des Queerpop-Elektro-Duos Arch Femmesis, Neil Cooper von Therapy? und der Rapper Shakk aus Middlesborough haben alle einen Gastauftritt. Zusätzlich zu den Gastmusikern wurde das Album von James Welsh (Phantasy Sound) und James Adrian Brown (ex-Pulled Apart By Horses) produziert, die die neue Richtung mitbestimmten. Das Ergebnis ist ein Album, das von Underworld und Leftfield ebenso viel hat wie von The Streets oder den Beastie Boys in ihrer Blütezeit oder sogar von der Indie-Sleaze-Ära der 90er und frühen 00er Jahre.

For the first time on vinyl, J Rawls 1999 beat series offers scenes 1-3 and 6 never before heard tracks. All these beats are from the archives of Rawls in his early years (1996-1999) as a young producer in Cincinnati, OHIO. These beats are the essence of that Rawls sound and embody his entire style. According to Rawls, “I did this album because I have had so requests for my music from that underground hip-hop era. This record took me back to a time when making music was just for fun.”

A premium series of limited edition Japanese pressed 7"s - featuring unreleased and impossibly hard to find gems from the Duke Reid archives.Side A : Unreleased. Recording In Treasure Isle Studio 1965. Original ska take of reggae version that was released to early 70's from Coxsone Dodd. Side B : Alternate Take. Straight ska instrumental.

A premium series of limited edition Japanese pressed 7"s - featuring unreleased and impossibly hard to find gems from the Duke Reid archives.Side A : Never Released. Early Ska Vocal.1961 Recording At Federal Studio. Unknown Duke Reid's Duo Artist. Side B : Recoding At Federal Studio 1961. Great Ska Instrumental. This One Was Recording Before "You're So Delightful" By Skatalites In Jamaica.

A premium series of limited edition Japanese pressed 7"s - featuring unreleased and impossibly hard to find gems from the Duke Reid archives.Side A : Released 1966. Recording By Treasure Isle Studio. Very Rare & Great Harmony Rock Steady Vocal. Side B : Recording 1967 In Treasure Isle Recording Studio. Great Rock Steady Instrumental By 007 Series.

After digging deep into the overwhelming archives of Discos Fuentes and Codiscos in our previous volumes, this third instalment in the series "Cumbia Cumbia Cumbia!!!" comprises a selection of 28 Peruvian cumbia bangers for the dance floor from the deep vaults of Discos MAG, all of them originally released between 1964 and 1987. "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. MAG had released porros since the label was set up, and by 1957 it was already selling records by the Colombian Lucho Bermúdez, a leading figure in porro and cumbia in orchestra format, from Buenos Aires. Colombian cumbia has come a long way in Peru since those years and put down its own roots, just as it has in other Latin American countries. This third volume of the series "Cumbia, cumbia, cumbia" demonstrates how the rhythm has persisted over three decades of Peruvian recordings, ranging from versions by orchestras and ensembles to original cumbias with electric guitars, with lingering echoes of Caracas-born Hugo Blanco, Tulio Enrique León, Los Teen Agers and Amparito Jiménez. These records were played nonstop in the Peruvian coast, mountains and jungle to the cry of "¡que sigue la cumbia!". Double vinyl LP!

"The Most Famous Sports Team in History ON RECORD...
Inspired by the smash hit “Sugar Sugar”, by the cartoon pop band The Archies, CBS TV were only too keen to sign-up Don Kirshner’s Globetrotters recordings as the soundtrack to the all-new Saturday morning Harlem Globe Trotters cartoon series that ran from 1971-72.
The TV series – the album and companion singles – were a huge commercial success and 22 episodes were produced by Hanna-Barbera. It was the first Saturday morning show to feature an African-American cast and the soundtrack was suitably soulful, upbeat and funky. One of the main writers, James Ralph Bailey, was a former member of the Cadillacs and famed for penning songs for Main Ingredient and Isaac Hayes. Bailey is also none other than Chuck Wood, writer and singer, of the Northern Soul anthem “Seven Days Too Long”.
With guest vocals by Globetrotter legend Meadowlark Lemon this exclusive vinyl reissue will certainly set the ball rollin’!
* Produced by Brill Building legend 
* JEFF BARRY (writer of ten U.S. #1’s) 
* Written by Barry, Neil Sedaka, Howard Greenfield and James R Bailey 
* Soundtrack to the Hanna-Barbera hit TV series with a global audience 
* The most famous team in sports history
* First Release since 1971"

Vol. 2 of TRAXMAN's (DANCE MANIA, TEKLIFE) FUNKBOMB REWORX series digs 6 more cuts out of the private archive. On tap this time we've got reworks of of FOUR TOPS, THE SPINNERS, BOOKER T. & MG'S, PEOPLE'S CHOICE and even LED ZEPPLIN, among others.

This album came together through a series of coincidences. It captures a recording session from 1994 featuring Kris Vanderstraeten, Daniel Duchamp, and Luis Ferin. The session, long forgotten, resurfaced 30 years later when it was rediscovered in an old DAT tape archive. Initially unrecognized, the tape began with a recording of passing cars, captured from a Brussels balcony at the time. This ambient sound was seamlessly integrated as an intro to the musical session that followed. The quality of both the recording and the performance proved to be exceptionally good, making it a rediscovered gem. The session marked a refreshing collaboration with musicians from a jazz and free improvisation background, leading to lasting friendships.

KRIS VANDERSTRAETEN: Drums, percussion, sounds, electronics DANIEL DUCHAMP: Double bass, (prepared) cornet, effects LUIS FERIN: Soprano sax, electric guitar TIMO VAN LUIJK: Autoharp, percussion, sounds, effects

Selten hat Tenorsaxofonist Archie Shepp so radikal und furios geklungen wie im Titelstück von ”The Magic
Of Ju-Ju”. Angetrieben von den hypnotisierenden Rhythmen eines fünfköpfigen Percussion-Ensembles
beginnt Shepp das Album mit einer schier atemberaubenden, über 18-minütigen Tour de Force an der
Schnittstelle zwischen Free Jazz, Panafrikanismus und Spiritual Jazz. Im Kontrast dazu wirken die drei
Stücke der zweiten Seite des Albums, die ebenfalls aus der Feder des Tenorsaxofonisten stammen, fast
hon traditionell jazzig - soweit das bei Shepp überhaupt möglich ist

R.M.K returns to NECHTO with his latest release, ‘NECH028’, following his previous solo record ‘NECH021’, his features on the label's VAs and numerous label event appearances. Hailing from London, R.M.K, the alias of Fossil Archive label head Roberto, brings a unique, evolving take on his sound. With over 20 years of experience, he has performed at iconic venues like Berghain, Tresor, and fabric, and collaborated with artists such as Trevino, Jamie Anderson, and Goldie.
‘NECH028’ marks a new chapter in R.M.K’s artistic growth, with the EP taking over a year to complete. The release includes four vinyl tracks, plus an additional digital-only track. R.M.K notes that while each track has its own distinct style, they collectively tell a cohesive story. He also
acknowledges the role of Nastia in pushing him to deliver the best possible quality, and he takes great pride in the result.
This release reflects the evolution of R.M.K’s sound, demonstrating his dedication to refining his craft and offering a compelling narrative through techno.

Six track EP full of warm deep house music, spacy jazz not jazz, african and brasil rhythms, plus a portion of psychedelic funk poetry.

‚Children Of Zu Zu‘ is Charles Petersohn‘s restart after his previous label release from 18 years ago, besides some experiments on Bandcamp and SoundCloud. On this EP sound merges into each other, is producing an organic flow. Smooth deep house, different kinds of jazz and jazznotjazz, african rhythms, Brasil batucada, psychedelic funk poetry, inspired by Dr. John and most of all the space music and afrofuturist philosophy of Sun Ra and his Arkestra. Soundscapes and atmos in the background of each song give the music a deeper feel. It took its time to get the music ready. There was the desire of having Web Web pianist Roberto di Gioia in the music, took months. But it was worth waiting. Roberto planted some magic moments in to it. On other hand Charles is hyper critic with his own sound. If jumping into to arena again, there should be something special. When he will be okay with every inch of his sonic work, then its done! ‚Children Of Zu Zu‘ became a collage of thick, warm and smooth housemusic, spacy Ambient Jazz and two dancefloor tools with a deep Afro and Brasil feel.

Here we go with six tracks full of love, full of dreams and full of space.

"Children Of Zu Zu" ist Charles Petersohns Neustart nach seiner letzten Label-Veröffentlichung vor 18 Jahren mit dem Pianisten Jasper van't Hof bei "Jaro". Deep House Music, Jazz Not Jazz, afrobrasilianische Jazz-Grooves, Ambient Jazz, eine von New Orleans Legende Dr. John inspirierte spirituelle Botschaft, einen Gesang von Frauen und Mädchen aus Samoa vom "British Commonwealth Sound Archive" und nicht zuletzt die intergalaktische Poesie von Sun Ra und seinem Arkestra. Soundscapes im Hintergrund fast aller Tracks versetzen die Musik jeweils an einen fiktiven Ort. Es hat seine Zeit gedauert, bis die Musik fertig war. Der Wunsch, den Web Web Pianisten Roberto Di Gioia für die Musik zu gewinnen, schien fast unmöglich. Seine Teilnahme verzögerte sich um mehrere Monate, denn Roberto ist ein vielbeschäftigter Musiker und Produzent. Am Ende hat sich das Warten gelohnt. Er hat der Musik einige magische Momente beschert. Auf der anderen Seite ist Charles mit seinem eigenen Material meist überkritisch. "Wenn ich mich parallel zu so vielen großartigen Musikern und Produzenten überall in der Welt und darüber hinaus mit einer eigenen Botschaft in die Welt begebe, muss das schon etwas Besonderes werden!" Nach endlosen Sessions in seinem Mini-Studio ist 'Children Of Zu Zu' um einiges mehr geworden, als er sich vorgenommen hat. Statt zwei, sind es am Ende sechs Tracks und zwei Bonus-Versionen voller Liebe, voller Träume und voller Space, innerspace und outerspace, geworden. Musik für den Dancefloor, für Jazz Clubs, Chill Zones und obendrein für Kinderzimmer!

Aunes is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, Aunes makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann's cello. The record takes its name from an old French unit of measurement for fabric, varying around the country and from material to material. Unlike the platinum metre bar deposited in the National Archives after the Revolution as an immovable standard, an aune of silk differed from an aune of linen: the measure could not be separated from the material. In much the same way, in these six pieces_which Hamann thinks of as `songs'_formal aspects such as tuning, pacing, melodic shape and timbre are not abstractions applied universally to musical material but are inextricable from the instruments and sounds used, even from the places and communities in which the music was made. Audible location sound embeds the music in its place of making, as in the delicate duet for church organ and wordless singing `schloss, night', where shuffles and cluttering in the reverberant church space form a phantom accompaniment, gradually displaced by a uneasy shimmer of wavering tones from half-opened organ stops. `Casa Di Riposo, Gesu' Redentore' documents a walk up a hill to an outdoor mass in Chiusure, layering voices near and far with footsteps, insects and other incidental sounds. Like in the work of Moniek Darge or Luc Ferrari, location recordings are folded on themselves in space and time, their documentary function dislocated to dreamlike effect. On other pieces, it is the emphatic presence of the performing body that grounds the music, whether in the intimate fragility of Hamann's softly sung and hummed vocal tones or the clothing that rustles across a microphone on the opening `by the line'. The idea of a music inextricable from its material conditions is perhaps most strikingly communicated on the album's briefest piece `bruststärke (lung song)', composed from layered whistling recorded while Hamann suffered through an asthma flare up, the results halfway between field recordings of an imaginary aviary and the audiopoems of Henri Chopin. More than any of Hamann's previous solo works, a strong melodic sensibility runs through Aunes, even when, like on `seventeen fabrics of measure', the music hangs together by the merest thread. At other points, Hamann's love of pop music is more obvious: the rich synth harmonies of `by the line' could almost be a melting fragment of a backing track from Hounds of Love. The expansive closing piece `neither from nor toward' exemplifies the highly personal musical language that Hamann has developed in recent years through constant solo performance (and a rigorous discipline of instrumental practice), pairing two overdubbed voices with the boundless depth and harmonic richness of just-intoned cello notes, calling up Ockegham or Linda Caitlin Smith in its elegiac slow motion arcs. Hamann's most personal work yet, Aunes arrives in a striking sleeve reproducing a section of a painting made from sewn pieces of dyed wool by Wilder Alison, a friend and fellow resident at Akademie Schloss Solitude, one of the temporary homes where much of this music was recorded.

Sun Ra was a master of misdirection. Tape boxes wrongly labeled—whether by accident or design—are legendary among Ra archivists. One can speculate about the artist's intent or carelessness, but source misinformation abounds on Ra tape cases, album jackets, cassettes, ephemera—as well as in interviews. It's as if Ra, in furtherance of his own mythmaking, wanted to keep historians guessing.

This project began as a misidentified tape discovered by Michael D. Anderson of the Sun Ra Music Archive. The 7-inch reel, which contained a live Ra solo piano performance of 11 works—some recognizable, others not—was of stellar quality, and was marked as a 1979 Carnegie Hall date. But the program on the tape did not align with known facts (e.g., titles played, concert duration) which were chronicled in a Newsday review of Ra's appearance at Carnegie in September of that year. With a prod from writer/historian Ted Gioia and further research by myself, the tape was eventually identified as a mostly unreleased July 1977 performance by Ra at a downtown NYC "jazz café" called The Axis-in-Soho.

Electronic pioneer Sasha links up with Artche for dramatic new single 'Hold On', Artche also provides his own version of the track.

Last Night on Earth founder Sasha sits in his own world after more than 30 years of innovation as a DJ and producer. His meticulously crafted sounds have constantly redefined the underground, and with this label, he has spearheaded the melodic movement with his own music and careful A&R of exceptional contemporary talents. This latest release finds him working again with Newcastle-based producer and vocalist Artche, who has already collaborated to great effect with the likes of Franky Wah and Cristoph on Eric Prydz's Pryda Presents and also released solo on SHÈN Recordings. His mix of deep house and techno has won fans like Pete Tong and Lane B, and he asserts his skills once more here. Says Artche of his return to LNOE.

The fantastic 'Hold On' is a dramatic ride lit up with sweeping, spine-tingling synths. It has a grand architecture and widescreen atmosphere with profound melodies and moody bass rolling down below. Angelic vocal sounds shimmer amongst the epic chords and the whole sophisticated track makes an inescapably emotional impact. The Artche Mix works the drums into airy, dusty broken beats that bring a different vibe while the original vocals and lush synths remain in place and tugging at the heartstrings.

An der Seite von John Coltrane und Archie Shepp hatte Altsaxofonist Marion Brown ab 1965 bei Impulse!
Records zur Speerspitze der avantgardistischen ”New Wave in Jazz” gehört. Von einer vollkommen anderen
Seite - sehr entspannt, meditativ und melodienselig - zeigte sich Brown dagegen 1975 auf ”Vista”, seinem
vierten und zugleich letzten Album für das Label.

Repressed! Archival reissue of the garage-psych Zamrock masterpiece (1974)

PRESSED ON OPAQUE GREEN VINYL

“Electrified by a diet of James Brown, the Stones and Deep Purple, WITCH were the stadium-filling kings of 70s Zamrock.” - MOJO
This landmark recording from Now-Again’s comprehensive overview of Zambia’s premier garage-, psych-, prog-, funk-,afro-rock ensemble WITCH, We Intend To Cause Havoc! is now available in a never before seen color variant. The audio is nigh-perfect – restored and remastered from the original master tapes. WITCH’s musical arc is contained to a five year span and, in retrospect, is a logical one. The band’s first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. In The Past, their second album, is the perfect follow-up for anyone exposed to the WITCH band through their landmark Introduction.

Very little is known about Joe Prichard or his sidekicks, except that the band, which hailed from Missouri, drew its inspiration from influences far and wide, resulting in each of the five tracks being very different in character, ranging from the power chords and staccato guitar breaks of the Jimmy Page variety, to the throaty sax of 12-bar blues specialists Climax as well as the dual guitars of ZZ Top. There’s even a nine-minute jam a la Jethro Tull or Traffic with flute and sax giving a decidedly jazzy feel to proceedings. Originally released in 1974, this is another extremely rare record now reissued by Riding Easy Records. "Pro-sounding 1970s rarity with a ballsy rock sound and songs ranging from ambitious prog over bluesy bar-rock into macho FM rock postures. It’s solid across the board with excellent guitar leads, soulful vocals, and a versatile band. Keyboards, woodwinds and elaborate arrangements provide a prog-AOR vibe that may turn some off, although there’s enough groove to keep one’s attention throughout the four long tracks." – (Acid Archives)

Strut introduces the highly anticipated third volume in the Disques Debs International series, diving deeper into the archives of one of the greatest French Caribbean labels, Disques Debs, based in Guadeloupe. Founded by the visionary Henri Debs in the late ‘50s, the label and studio operated for over 50 years, releasing more than 300 7” singles and 200 LPs, making it a cornerstone of Caribbean music history.

By the dawn of the 1980s, Henri Debs had already established himself as a prolific producer, with a record of releases unmatched in Guadeloupe and Martinique. From its humble beginnings with a 2-track tape machine in the back of a clothes shop, Disques Debs evolved into a powerhouse, boasting a state- of-the-art studio in downtown Pointe-à-Pitre, retail shops for records and musical instruments in Guadeloupe, Martinique, and Paris, a nightclub in Gosier, and international distribution deals reaching Europe, the U.S., and South America.

Disques Debs played a pivotal role in shaping modern Caribbean music. The label bridged traditional genres like biguine and gwoka with contemporary styles like cadence, compas, and zouk, the latter becoming a global phenomenon in the 1980s with contributions from iconic acts like Kassav’ and Zouk Machine. The period also saw Disques Debs champion a new generation of artists while maintaining ties with legendary figures from earlier decades.

Volume 3 in this series spotlights one of the label’s most dynamic and influential periods as it expanded its global reach during the 1980s. Across 2 LPs, the release features a curated selection of tracks from the Disques Debs circle, highlighting both emerging talents and established artists who defined the era.

This collection not only celebrates Henri Debs’ unmatched legacy but also offers a snapshot of Caribbean music’s golden age, cementing Disques Debs as a cultural institution.

The B is back! Roza Terenzi puts the B in SBC; bounce, bass and.. Boss. Returning with a four track all original EP “Ministry of Wish” the label head is calling on corners of her ever expanding distinctive sound with a sliding scale (etherial to filth) sound bath. Something for every occasion, whether you’re looking to get down and dirty, leave the dancefloor in dust or stargaze via subbass, we got you covered. Recorded between Berlin and Perth, the tracks all signify moments in time that feels like it’s going too fast, an archival stamp on the year 2024; sometimes after a party that lingers with mythical adrenaline, sometimes a personal moment to express reflection.

With the only predictability being Roza’s penchant for Genre Bending, STEP14 sets the tone for the freaky, fabulous year to come of Step Ball Chain in 2025.

I wrote The Shit Punx Hate for Realicide in 2005. This version was made for Decide Today around a decade later, maybe 2015? It was about the pathetic narrow-minded dogmas that were common in Cincinnati punk, being discriminated against when our approach defied dominant aesthetic criteria, chronically misunderstood and rejected without consideration.

This experience in my formative years led to a long path of thought as I entered adulthood. Those feelings of being "other"ed, treated poorly based on who I was, started to seem less significant compared to the prejudices I saw friends faced with. Targets of bigotry due not to a subcultural choice, but aspects of themselves they were born into. Of course I mean things like race, gender, class, abilities. If being dissed by punk rockers sucked for me, imagine what it must feel like being the only black kid in a social circle that can't even recognize its own racism, the only woman in places misogyny is the celebrated standard, having a non-white family at risk of deportation, growing up "male" or "female" when you've always known they are wrong about you, etc. This was my mental gateway into prioritizing these struggles, wanting to become an ally, then even more so an accomplice.

Revolutionary Reason was written in 2018 during my time working with Mass Action for Black Liberation, and revised abruptly this year while recording for this record, as it was inconceivable not to address the epitome of merciless colonial atrocity orchestrated by the state of Israel. While I write this, the IOF is massacring families in the West Bank. The death toll in Palestine is currently estimated at around 41,000 and it hasn't even been a year since this modern Nakba began. I hope these songs help make apparent that whatever you said you "would do" during Jim Crow America, Nazi Germany, Apartheid South Africa, any archetypal history now synonymous with wrongness, yes I can confirm NOW IS THAT TIME to do it ...if you were for real about it that is.

Big respect to my Arab friends who are so patient while I learn the stuff my school conveniently omitted, to my Jewish friends tirelessly combating the violence of their ethnicity being shackled to a cult of Zionism, to native resistance across Turtle Island that articulates so well that this fight is also still/always very domestic, to contemporary hiphop telling today's stories while rock music often merely offers retro fashion, and of course to Kieren and Borg my homies in OZ.

All my love to intifada direct action everywhere dismantling the imposed global suicide pact that is white supremacist capitalism.

~ Robert Inhuman 28 August 2024

Die holländischen Futuristen-Metaller CRYPTOSIS melden sich mit einem kraftvollen und beeindruckenden Nachfolger zu ihrem gefeierten Debütalbum "Bionic Swarm" aus dem Jahr 2021 zurück. CRYPTOSIS' zweites Album "Celestial Death" mit seinen 11 Tracks / 42 Minuten Spielzeit zeigt die Band auf einer dunkleren, schwereren, melodischeren und extrem cineastischen Reise. Gemixt wurde das Album von Fredrik Folkare / Chrome Studios (Unleashed, Necrophobic, Hellbutcher) und gemastert von Tony Lindgren / Fascination Street Studios (Arch Enemy, Borknagar, Amorphis) in Schweden. Das Artwork stammt von Eliran Kantor (Kreator, Testament, My Dying Bride).

Crafted from solo recordings of 42 top-notch improviser musicians mostly drawn from Berlin’s multi-layered experimental scene, the monumental Phantom Orchestra project by Raed Yassin is finally getting released on Morphine Records. More than 1000 minutes of source material, recorded at the Morphine Raum during the fall of 2021, is distilled into a cogent work marked by a dazzling display of editing and blending, and packed into a double LP containing 7 “movements” of the Phantom Orchestra composition.

Crafted from solo recordings of 42 top-notch improviser musicians mostly drawn from Berlin’s multi-layered experimental scene, the monumental Phantom Orchestra project by Raed Yassin is finally getting released on Morphine Records. More than 1000 minutes of source material, recorded at the Morphine Raum during the fall of 2021, is distilled into a cogent work marked by a dazzling display of editing and blending, and packed into a double LP containing 7 “movements” of the Phantom Orchestra composition.

The Lebanese composer, musician and visual artist Raed Yassin has built a career straddling artistic mediums and communities, his devotion to improvisation, his connection to experimental electronic music, and his interest in the archive distinguishing a progressive impulse rooted in historic exploration. In 2020 Morphine Records released his wildly ambitious Live in Sharjah, made by a kaleidoscopic expansion of Praed, his duo with clarinetist Paed Conca. He resumes his interest in large-scale projects with Phantom Orchestra, conceived during the pandemic when most European improvisers were forced to redirect their energies into solo work,

Each set of the Phantom Orchestra’s solos was cut on a Dubplate, ready to be performed on 12 turntables routed to a six-channel setup, to create a unified and breathtaking composition from the spontaneous material. The resulting material was then edited and prepared to be cut on a Double LP format, marshalling a staggering variety of improvised footage into an air-tight collage that locates abstract consonance, stunning sonic rhymes, and unusual harmonies without shutting out the sort of exhilarating collisions and fraught tensions inherent in collaborative improvisations. With this final stage of the composition, Yassin offers a vibrant testimony to the diversity of Berlin’s community of improvisers, to say nothing of his own refined artistic sensibility in achieving such a remarkable feat of blending so many contrasting voices into a truly unified piece of music. “For me it's about how to learn to be a community again,” he says. “And how to live in a world together again, which is a very difficult question for me.”

“This Album was published with the support of the Arab Fund for Arts and Culture – AFAC”

Mirai is a 2018 Japanese animated adventure fantasy comedy film written and directed by Mamoru Hosoda and produced by Studio Chizu (known for Belle, Wolf Children and The Boy and the Beast). The film stars the voices of Moka Kamishiraishi, Haru Kuroki and Gen Hoshino a.o. It was met with critical acclaim and became nominated for an Academy Award in 2019 for Best Animated Feature Film. Additionally, the movie received an Annie Award in the same year. Mirai follows the story of a four-year-old boy named Kun whose world is turned upside down when he meets his new baby sister. After venturing into a magical garden, Kun encounters strange guests from the past and future, including his sister Mirai, as a teenager. Together, Kun and teenage Mirai go on a journey through time and space, uncovering their family's incredible story. The soundtrack for the film was written by Masakatsu Takagi, who had previously scored Hosoda's Wolf Children and The Boy and the Beast. His work for Studio Chizu has been praised for its magical and whimsical atmosphere. For Mirai specifically, this dreamy aesthetic was mixed with a contemporary sound and made to be simple in tone and be reflective of family. Mirai is available as a limited edition of 500 numbered copies on turquoise coloured vinyl and includes a 4-page booklet.

Der charismatische italo-französische Sänger, Gitarrist und Mundharmonika-Virtuose lässt sich für seine
Alben gerne Zeit. Auch auf sein jetzt erscheinendes drittes Blue-Note-Werk haben die Fans lange gewartet.
Auf intuitive Weise vereint Charles Pasi Elemente verschiedenster Genres, ohne dabei jemals beliebig zu
werden. Dass er dabei ein begnadeter Sänger und Mundharmonikaspieler ist, der Pop- und Blues-Songs
mit einem Spritzer Jazz beherrscht, gibt seiner Musik die richtige Würze, um neben den Fans auch Musikerkollegen von Archie Shepp bis Maceo Parker zu begeistern. Auch ein Konzert von Charles Pasi sollte
man sich nie entgehen lassen.
Sein neues Album „Adamas“ ist wieder ein facettenreiches, emotionsgeladenes Album geworden, gespeist
aus den Erfahrungen der letzten Jahre, in denen es markante persönliche Verluste in seinem Leben gab.
Als Single gab es vorab den Titel „Addict“ zu hören, trotz des dunklen Themas Abhängigkeit ein luftiger
Gitarrentrack mit lässigen Vocals und starker Hookline. Die restlichen Songs des Albums halten mit diesem
ersten neuen Lebenszeichen locker mit.