Search:arrival

Welcome to another fine episode of SIRS aka »Sounds in real Stereo«! After last years' arrival on LARJ with his »Arrived EP«, Berlin based versatile DJ & producer Daniel Klein is back with »Travel To HDF.Y3D« - an utopian (or more likely dystopian) ode to space travel:

The last few remaining humans are traveling with 140bpm to the most distant galaxy in the universe on a mission to seek out a new space for mankind to live after many years of exploiting good old Mother Earth. What sounds like a horror scenario if you start thinking about it, SIRS manages to wrap up in quite a positive musical message. Thus »Travel To HDF.Y3D« becomes that hopeful uplifting slightly dreamy tune we all need these days - not unlike Christian Bruhn's theme of a certain Captain called Future back in 1980 …

It's also nice to have two more versions of such a strong tune at hand: The first one is a true first one for »Cocktail D'Amore« DJ BUDINO as she comes up with her first remix and production work ever. Budino's approach is a slightly darker, maybe indeed more dystopian one. The synthesizer bass lines dominate her remix and by getting rid of the original's playful melody she creates a very special melancholic feel.

Leipzig based PANTHERA KRAUSE's take isn't quite that different from Budino's as he too focuses on the darker vibes of this journey in space. It's his added extra dose of punch that surely will keep dancers on the floor for sure.

The former »Space Ibiza« resident SIRS now takes over the controls again with »Summer Desire« which too is destined to rule dancefloors not only in Ibiza but all over the world with its lovely airy vibe.

»Travel To HDF.Y3D« returns for one last time in form of the spoken word prolog - a nice extra tool to play with.

Daddies of riff, shuffle, southern swing, with backbeat and chicken funk spiel, all very much "Sons of Memphis", these six established performers, in the pure Stax/Atlantic style, produce a profound Deep Soul, held together by a hot and groovy bass, a V8 drumbeat, a possessed trombone, a charismatic and powerful lead vocal, and a roaring Hammond Leslie united with the spring reverb guitar and its 60"s tremolo. Zoot suit, black and white Derbys, dark glasses, this Take 6 knows the song, the story and all the strings of the Soulman with that little added extra, the irresistible French touch embellished by their roots in the Bearn, in the Pyrenees. This energetic combo creates fireworks on stage and through them Deep Soul remains what it has always been, a music of hope! Of sharing! Music of the soul! The soul revelation of 2021/2022!! The SuperSoul Brothers began in 2016 as a quartet (bass, drums,guitar, vocals) working relentlessly through the year, with rehearsal after rehearsal. In 2017 came their first concert. The keyboards arrived in 2018. The final balance came in 2019 with the arrival of the trombone. Take 6 was the magical formula. In 2020 their first album, "Shadows and Lights" was written and recorded old-school style. That summer, they fronted the NEG "MARRONS at the Pau Summer Festival. In 2021 they signed with Dixiefrog Records and released their first global album, "Shadows and Lights". The newly created stage show, "Soul Revue" is ready to roll.

Das neue Album „Twelve Carat Toothache” des Superstars Post Malone ist nun erhältlich!

Das vierte Studioalbum beinhaltet unter anderem Features von The Weeknd, Doja Cat, Roddy Ricch und The Kid LAROI!

Wie für das Multitalent üblich, definiert er durch s eine Musik Genre-Grenzen neu und zeigt auf, was für ein vielseitiger Künstler er ist.
Schon seine Debütsingle „White Iverson“ (2015) schaffte es mit Anhieb auf Platz 14 der Billboard 100 und wurde mit Vierfach-Platin ausgezeichnet. Doch dabei blieb es nicht - sein erstes Studioalbum „Stoney“ debütierte auf Platz 6 und wurde mit Fünffach-Platin ausgezeichnet, ebenso wie sein zweites Studioalbum „Beerbongs & Bentleys“. Das letzte Studioalbum des in Dallas aufgewachsenen Musikers, „Hollywood’s Bleeding“, peakte auf Platz 1 der US-Albumcharts, wurde mit Dreifachplatin ausgezeichnet und stellt mit
fast 80 Millionen Streams in nur 24 Stunden einen neuen Spotify-Rekord auf.

2022 heralded the arrival of his fourth full-length offering and the summer’s most-anticipated record, Twelve Carat Toothache, that arrived on CD June 3, 2022. It is his first full-length in three years since the triple-platinum Hollywood’s Bleeding crashed the Billboard Top 200 at #1.

Das neue Album „Twelve Carat Toothache” des Superstars Post Malone ist nun erhältlich!
Das vierte Studioalbum beinhaltet unter anderem Features von The Weeknd, Doja Cat, Roddy Ricch und The Kid LAROI!
Wie für das Multitalent üblich, definiert er durch s eine Musik Genre-Grenzen neu und zeigt auf, was für ein vielseitiger Künstler er ist.
Schon seine Debütsingle „White Iverson“ (2015) schaffte es mit Anhieb auf Platz 14 der Billboard 100 und wurde mit Vierfach-Platin ausgezeichnet. Doch dabei blieb es nicht - sein erstes Studioalbum „Stoney“ debütierte auf Platz 6 und wurde mit Fünffach-Platin ausgezeichnet, ebenso wie sein zweites Studioalbum „Beerbongs & Bentleys“. Das letzte Studioalbum des in Dallas aufgewachsenen Musikers, „Hollywood’s Bleeding“, peakte auf Platz 1 der US-Albumcharts, wurde mit Dreifachplatin ausgezeichnet und stellt mit
fast 80 Millionen Streams in nur 24 Stunden einen neuen Spotify-Rekord auf.

2022 heralded the arrival of his fourth full-length offering and the summer’s most-anticipated record, Twelve Carat Toothache, that arrived on CD June 3, 2022. It is his first full-length in three years since the triple-platinum Hollywood’s Bleeding crashed the Billboard Top 200 at #1.

Finally the two main protagonists of the current live electronic movement and founders of our fair label Carl Cox and Christopher Coe have stepped up to the plate with this truly innovative and uncompromisingly live collection of techno tunes that defy categorization and are certain to land us fair and square on the dancefloors of the underground clubs of the world!

What can we say.. This EP just bangs! Improvised, recorded live and straight to 2 track in one day, this 4 tracker comes straight from the machines of Carl and Christopher’s collaborative studio in Australia and onto wax!

It is with great delight that we can present this collaboration straight after the release of Carl’s first solo album in 10 years.

This is a statement of definition from the boys, they have planted their feet firmly in the live scene with this edgy, experimental and jackin’ collection of beats!

The mindset is real.

Soul Jazz Records are releasing Count Ossie and The Mystic Revelation’s seminal 1975 album Tales of Mozambique in an expanded double album/single CD/digital format, fully remastered and with the inclusion of two bonus rare single-only tracks, full sleevenotes, exclusive photographs and interview.

Count Ossie is the central character in the development of Rastafarian roots music, nowadays an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.

Count Ossie’s drummers performed on the first commercially released single to integrate Rastafarian traditional music with popular music: the vocal group The Folkes Brothers’ groundbreaking song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the momentous arrival of Haile Selassie at Kingston airport.

His legendary jam sessions up in his Rastafarian compound in the hills of Wareika, Kingston, are famous for the many Jamaican musicians who attended including The Skatalites players – Roland Alphonso, Don Drummond, Johnny Moore, Lloyd Knibbs – and many others.

The Mystic Revelation of Rastafari formed in Kingston, Jamaica, in 1970, a union of Count Ossie’s Rastafarian drummers – variously known as his African Drums, Wareikas or his Afro-Combo – and the saxophonist Cedric Im Brooks’ horns group, The Mystics.

The Mystic Revelation of Rastafari are the defining group in bringing authentic Rastafarian rhythms into the collective consciousness of popular music, their unique music is at once rooted in the deep traditions and rituals of traditional drumming and chanting alongside a forward-thinking, even avant-garde, artistry influenced by the likes of John Coltrane, Sun Ra, Pharoah Sanders and other pioneering African-American jazz artists radicalised and charged by the civil rights movement of the 1960s.

Tales of Mozambique is a truly unique and fascinating ground-breaking album.

Count Ossie and The Mystic Revelation of Rastafari are the central group featured on Soul Jazz Records recent "Rastafari - The Dreads Enter Babylon” a collection showing the influence of Rastafari in Reggae and Jamaican popular culture.

Soul Jazz Records will also be releasing Count Ossie and The Rasta Family 'Man From Higher Heights’ in the near future.

* Bonus tracks

REVIEWS

" All roads in Rastafarian roots music lead to Count Ossie.He’s the lead character in this compelling subplot, the musician who was one of the first to put Rasta tenets into the heart of popular music.

He did so from his camp in the hills above Kingston, Count Ossie and his drummers casting a spell on the musicians who gathered to check him out and then went on to spread the word about the powerful nyabinghi rhythms and mesmerising percussion.

This is a reissue of the 1975 album Count Ossie made with his Rastafarian drummers and saxaphonist Cedric ‘Im’ Brooks’s group The Mystics.

It’s a groundbreaking, majestic work, by turns righteous in tone and joyous in execution. It’s the sound of Ossie and his ensemble narrating a history lesson and you’d be daft not to want to find out more." IRISH TIMES

FUSE launches its new ‘X Series’, a new instalment on the label centred around collaborations, with the first four-track offering courtesy of anonymous partnership eb_flow.

Continuing to evolve, adapt and blossom as an imprint leading the way across house, minimal and beyond, London favourites FUSE have undeniably levelled up once again as they approach a decade and a half in the game. Adding to their global events and long-standing sub-label INFUSE with sister imprint LOCUS, the brand has delivered quality productions across the electronic sphere from a mix of label regulars and emerging names, with founder Enzo Siragusa heading up and curating the subtle nuances and directions across their wide-reaching ventures. A new project for 2022, late August, welcomes the arrival of the label’s ‘X Series’ - a collaborative introduction which will see label favourites and special guests combine to unveil a string of unique releases in partnership with one another. The inaugural release sees anonymous pairing eb_flow join the label, delivering four cuts which have been essential records amongst the head honcho’s sets this year.

Opener ‘Transmission’ welcomes an otherworldly trip through hazy vocal murmurs and sweeping lead melodies as skippy percussion and rumbling sub-bass take hold before ‘Show Me’ delivers an impactful, bottom-heavy anthem fusing murky basslines beneath garage-tinged drums, funky grooves and dubby sonics.

The vinyl package comes loaded with two further cuts in the form of ‘Elevate’ and ‘Space’, with the former delivering a dreamy, mind-altering trip guided by bright stabs and loose, free-flowing drum shuffles, while the latter serves up a late-night skittering ride through resonant electronics, elongated pads and rubbery bass.

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

LOCUS unveil the second instalment in their VA series ‘LOCUS Trax’ with fresh material from Mathijs Smit, LaRosa, BODJ, and Nolga.

Continuing to quickly grow as one of the most-loved emerging labels in the game, LOCUS looks set to go from strength-to-strength throughout the remainder of 2022 as the FUSE family builds yet another label offering quality and consistent material from across the house sphere. Having launched their new various artist series LOCUS Trax earlier this year, TBC welcomes the arrival of the sophomore offering with four fresh productions as Groningen’s Mathijs Smit, Brooklyn’s LaRosa, Athens’ BODJ and Manchester’s Nolga all make label debuts.

Mathijs Smit’s ‘Green Hill’ is a slinking cut guided primed for peak time fun as slinking acid tinged low-ends meet playful samples and sweeping pads, while ‘Amelia’s Groove’ sees LaRosa work shuffling drums amongst warped vocals and rich melodies. Next, BODJ veers towards spacey sythns and colourful electronic motifs across ‘Back To Party City’, before Nolga lays down woozy chords on top of a no-nonsense bassline to close the show.

Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.

Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.

Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering
record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city
reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best
tracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.
With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack
to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

Vector Lovers has remained a firm favourite of the underground electronic music scene cognoscenti and holds a coveted place among the most hallowed of record shelves, and with good reason. Since the early 2000s Martin Wheeler has explored a sparse audio wasteland in order to develop a new sonic palette that looks outward to electro, IDM and ambient.

After self-releasing a handful of his own productions on the Iwari label, Wheeler’s career defining album was signed by British label Soma in 2005, leading to the first great revival of 90s IDM. Capsule for One' was an unrivalled masterpiece that perfectly synthesised the heritage of the Hardcore Continuum with renewed airs and degree of clarity that ushered in a new millennia and sound. It arrived as a worthy successor to the venerated Warp artists of the time, while embracing new panoramas and technologies.

Capsule for One' is a melancholic album, with an almost cosmic spirituality that provokes daydreaming. From its opening track 'City Lights From a Train' it welcomes the listener onto an infinite journey at the speed of light, connecting the past, present and future, folding time and space and painting neon cities populated by cyborgs. The album reaches its zenith with 'Melodies and Memory', featuring Wheeler’s very own voice, which has arguably become one of this century’s greatest electronic ballads to date. In fact, the impact of 'Capsule for One' was such that Tracey Thorn commissioned him to produce her song 'Easy', from the album 'Out of the Woods' Virgin, 2007.

For its forthcoming release on Lapsus Records, Martin Wheeler has remixed each and every song on 'Capsule for One', as well as adding two previously unreleased tracks 'A Simulation' and 'Perfect Score', both produced around the same epoch. This extra special release, with artwork redesigned by Josep Basora, features a double marbled vinyl and a limited edition insert print.

"Meat. The story needs meat. (And blood ... coagulated blood (Gore)). The substance we are seeking here lies beyond the bare bones of fact, thewhen and the where (founded in 1988, Mülheim an der Ruhr) or personneland instruments (a trio since 2016, built around keyboards, saxophone, bass & drums). The story is more than the sum of its facts. Mysteries may very well lurk here or there along the way. What keeps the final two foundermembers going after all this time Do Morten Gass and Robin Rodenberg have skeletons locked in their closets How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved.Including their debut Gore Motel' (1994), BOHREN & DER CLUB OF GORE have amassed an impressive eight longplayers. Four album titles allude to the night - their debut was followed by Midnight Radio' (1995), Sunset Mission' (2000), and Black Earth' (2002), whilst the most recent instalment carried the name Piano Nights' (2014). The nocturnal quartet was punctuated by Geisterfaust' (2005), Dolores' (2008) and a mini-album entitled Beileid' (2011), adding rather eerie overtones to the after hours ambience. The BOHREN & DER CLUB OF GORE legend has grown stronger both at home and abroad with every record they have released and every show they have played. Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive, yet repetitious. References, links and associations recur almost word for word. Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists GORE (the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future. Nevertheless, this fissure in the BOHREN continuum has barely merits a mention in the greater scheme of things. Similarly conspicious by their absence in the BOHREN chronicles are the numerous instruments which they added to the mix - vibraphone, organ, tuba, bass trombone to name just a few. The introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums (although they have equipped themselves with mechanical brushes). A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. Such changes may not get any easier to spot in the future, such is the intensity of internal imagery sparked by the music, a maelstrom of distractions so powerful that its promises are too sweet and too dangerous in equal measure. The music of BOHREN & DER CLUB OF GORE opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a
dusky woodland tavern to a smoky quayside dive. Individual and collective floods of images rush forth irresistibly. Loneliness is not at all problematic: empty multi-storey car parks, nighttime drives, remote bridges to nowhere. All in your mind. This is the temptation, a sweet, guilt-free addiction. It's all in your mind - and only there. These sinister crackling songs are invitations to secrete oneself in darkness. With track titles such as 'Maximum Black', 'Zombies Never Die' or 'Dandys Lungern Durch Die Nacht', the mind wanders inexorably into filmic spaces.
Echoing the masters of midnight cinema, stories evolve all by themselves. As the American Film Noir Foundation observed so smartly: 'the vivid co-mingling of lost innocence, doomed romanticism, hard-edged cynicism, desperate desire, and shadowy sexuality.' Their definition of Film Noir serves just as well as an appraisal of the group, 'Bohren For Beginners'.
Which says it all really, doesn't it A final word of warning! Sources close to the band describe the double CD
released in October 2016 as a gateway drug to the Bohren universe. Enter at your own risk, some have never found their way out again."(by Lars Brinkmann)

Since he first emerged at the end of 1999 with instant UK garage classic Re-Rewind, Craig David has scored 25 UK top 40 singles (16 of them top 10), nine UK top 40 albums (five of them top 10) and amassed over 5 billion (!) streams worldwide. In fact, over 1.5 billion of those came via his most recent releases, 2016's chart-topping comeback album, Following My Intuition, and 2018's career consolidating The Time Is Now. If you're more used to the old school metrics, that's 20m global sales. And speaking of global, he's played sold out tours everywhere from America to Australia, Japan to Germany. Across his twenty-plus year career, he's collaborated with the likes of Sting, Kano, Diplo and KSI, while also becoming one of the biggest DJs in Ibiza via his TS5 soundsystem. Award-wise we're talking 14 Brit Award nominations, two Grammy nominations, four MOBO awards and three Ivor Novellos honouring his songwriting. It's impressive, sure, but that's the past. It's ephemera. “I always feel like you need to be more real-time and present in the now,” David confirms.
That present involves an excellent new album, his eighth, in the shape of next year's 22. “It's 22 years since the first album, it will be 2022 when the album drops,” he explains of the title. This month sees the arrival of 22's glorious, MNEK-assisted lead single Who You Are, which cocoons a feel-good pop lyric about being present in a pristine UK garage casing courtesy of producer Digital Farm Animals. Like all Craig David classics it feels both box fresh and warmly nostalgic. “It will live in the world this song,” David says. “It feels so authentic, it has intention. Put on Who You Are to try and talk to someone that needs help.”

The idea of putting a smile on people's faces is at the heart of 22, an album whose title itself reflects myriad different themes. “There's also a spiritualism in the number 22 and what it represents,” he says. “In numerology it's a very powerful number and in terms of angel numbers it's bringing balance and equilibrium to my life. We're in a world where there's a lot of me against you, and so it's bridging the gap.” The title also represents distance; it's a date stamp that marks his career longevity. So what does the album's contents say about Craig David in 2022? “At its core it's still very much everything I've honoured since I was a kid, but in some ways I'm being more playful,” he says. “Loosening up the chains of my history. My debut is probably the most clear expression of who I am because it was my first outing – it's everything you are. So on this album there's that energy mixed with the wisdom and experience I can bring to the world. I've not mastered anything yet, I'm a newcomer still.” Still very much born to do it, just older and wiser.

Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You – a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol’s ever fertile improv scene.

The core of Run Logan Run’s sound is the dynamic conjunction of Matt Brown’s agile and powerful drums with Andrew Hayes’ looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiralling energies generated by this essential musical relationship. Explorations of repetition, dissolution and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes’ unshackled journeys into sound. But though they began within Bristol’s improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021’s For a Brief Moment We Could Smell The Flowers allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You – and the duo’s vision has broadened a step further.

The essential series from the ’80s has been rebuilt, remastered, and carefully portioned onto a five disc set of 7-inch singles, including all the classic vocal bits that became iconic samples, and more than a few new additions to bring things up to date.

Where would dance music be without Acapellas Anonymous? Although many records claim to have changed the game, the arrival of the Acapellas Anonymous series in the mid/late ’80s actually did just that. A hugely popular, multi-volume set of vocal tracks sourced from a wide variety of dance classics, AA was used extensively at the dawn of sampled music to provide hooks for numerous hits. “I’ve Got the Power,” “Ride On Time,” multiple Clivillés and Cole tracks, Pal Joey’s “Party Time,” ’90s Italo house and rave cuts, and untold others all found their choruses among the many acapellas collected on the series. As Ultimate Breaks & Beats was for funk and hip-hop sampling, so was AA for dance music, both for producers and as a must-have for the creative DJ. Sure, before these records came along, DJs had their own choice vocal bits that they used in sets or layered into edits. But suddenly, much like Ultimate Breaks, these carefully guarded secret sources were available easily, and in convenient form, for the first time. And the response, from DJs and a new generation of producers, was immediate.

That part of the story is widely known, and indeed, was widely experienced by anyone paying attention to music of the time. But the questions linger: who was it that found these acapellas, many of them only existing on promo singles, or as tiny fragments buried on obscure B-sides? Who edited and put them together? By now, you may have guessed that once again we owe an enormous debt to the maestro of edits and our hometown hero, Danny Krivit. And it’s to him we must tip our collective caps for this latest release, a carefully revised, fully remastered, and immaculately executed update to the series — this time on 7-inch.

All of the classics are here, rinsed but still powerful: “Let No Man Put Asunder,” “Weekend,” “Don’t Make Me Wait,” “You Don’t Know,” and dozens more. New additions make a few clever appearances as well, with Roland Clark’s “I Get Deep” (used for Fatboy Slim’s “Star 69”), and Rickie Lee Jones’s stoned rambling known as “Little Fluffy Clouds” showing up for the first time. This is no nostalgia trip — Acapellas Anonymous was recently tapped for a Cardi B megahit, and naturally you’ll find that source, Frank-Ski’s “Whores In This House,” included. All in all, an astounding 80 high-quality acapellas and vocal hooks are spread across the five 7-inch, 33RPM singles, which have each been sequenced thematically with attention paid to timings and tempos to provide maximum utility for the working DJ. And if the past is any indicator, we will likely see a new crop of tracks spring up as these find their way into the production toolkits of the world’s track-makers.

Broadway in Soho to perform a wholly improvised concert. This ensemble’s solos spring from collective improvisations and a tumultuous backbeat, loosely inspired by the creations of Coltrane, Coleman, Albert Ayler, and their brethren. The de facto leader was Richard “Dickie” Landry, a saxophonist and keyboardist who joined composer Philip Glass’s group in 1969. Landry had become a fixture in downtown New York’s loft and art scenes at the close of the 1960s, after he high-tailed it by car from Louisiana to the Lower East Side and auspiciously encountered Ornette Coleman at the Village Gate the night of his arrival.

For this concert, fellow Glass reedists Jon Smith and Richard Peck joined in, alongside Rusty Gilder and Robert Prado, both doubling on bass (upright and electric) and trumpet. The drum chair was occupied by New Orleans firecracker David Lee, Jr., who brought alto saxophonist Alan Braufman along for the session (Braufman was the only non-Louisiana player in the band). The ensemble stretched

out in the gallery for several hours in a configuration reflecting those that took place at Landry’s Chinatown loft, documented in photos by artists Tina Girouard and Suzanne Harris that adorn the inside of the original gatefold album jacket. Recorded live by Glass’ sound engineer Kurt Munkacsi, the album was released as a double LP on Chatham Square, the small imprint Landry and Glass co-ran, in a stark greyscale cover and simply titled Solos. The order of the players’ improvisations was laid out on the album inner labels, though unsurprisingly there’s a fair amount of blend. At the end of the day Solos is beyond category, a rousing exploration of instrumentation, rhythm, and life.

Fangst never announced their arrival – without a warning they were just there, and so was the demand for their music. The band’s hook-laden songs were quickly embraced by audience and press alike. Suddenly there was a new challenger to the throne of Norwegian “mother tongue rock”. Fangst appeared with a bang – releasing four singles in quick succession in 2021. Seeing the band live, it’s easy to be seduced by the four band members and their magnetic stage presence. Now they’re ready with their debut album on Jansen Records. But this is hardly a musical debut for the guys who make up this four-headed beast. All members of Fangst come with heaps of musical experience, and the bare mention of their other bands – Death By Unga Bunga, Honningbarna and Hvitmalt Gjerde – will awake fond memories in every concert goer who’s ever encountered those bands. Fangst’s debut full-length will be out in the fall of 2022, and if captivating Norwegian lyricism or very, ehm…rocking rock (or even both!) is your bag, then you’ll get your fill here. The band’ sound is a result of their diverse musical backgrounds and combines to create beautiful rock music – sporadically dangerous and at times plain cute.

Beatservice Records are thrilled to present the hotly-anticipated third album from Oslo-based production maestro, Third Attempt. 'The Novel Sound' follows on from the widely acclaimed 'Beats From The Quarantine' album released in April 2021, and further compliments the young artist's deserved reputation as one of the dance underground's most exciting talents to emerge in recent years.

Third Attempt (aka Torje Fagertun Spilde) has been dazzling us with his far-reaching music since arriving in the Beatservice fold with 'Shoreline' back in 2018, and since then his ever-evolving repertoire has continued to serve up immaculate sonic surprises. The fast-rising 23-year old artist has wasted no time making his indelible mark, displaying a frenetic work rate alongside an impeccable ear for constructing compelling leftfield grooves.

'The Novel Sound' opens with the rolling deviance of 'Freak Out', where a dusty string sample makes way for vocal samples, scratches, and searing sirens permeating a bass-heavy groove, setting the tone magnificently for the music that's primed to unfold. Next, we arrive in the mid-tempo chug of 'Age Of Steam'. Evolving over a crisp, club-ready rhythm, heavy funk guitars, dancing keys and distant vocal stabs cascade over driving bass before soaring strings herald the arrival of a slick breakdown section. The icing on the cake arrives as bubbling acid joins sensational horn motifs, breaking down once again for a starry-eyed beatless passage that leaves us yearning for a reprise.

'My Girl' features amorous vocal samples hovering over an irresistible disco beat, with alluring rhythm guitars and dreamy e-piano chords setting the scene for rousing horns to blast off into blissful summer skies. Before we've found time to catch our breath, 'Nu Funk' arrives with snappy hip hop samples scratched over tight beats and a delectable bass guitar hook. The groove pauses for dubbed-out space delays to echo into the night before a singing lead guitar joins the rhythm elements to burst back into life, with flute motifs, elegant strings, and otherworldly sweeps elegantly meandering across the panorama.

Set over a groove that arrives like a cool summer breeze, 'Sunbeam Symphony' drifts over soul-soothing chords, weighted bass and slick, rolling beats. Hypnotic keys guide us into position as the drums build energy and the bass notes power us forward. Third Attempt's dextrous keyboard solo dazzles momentarily before subsiding for a dub-infused break, with spaced-out vocal chops and rising sweeps building tension before the groove resumes and the virtuoso solo once again majestically soars. Maintaining the sun-kissed meditations, 'Definite' effortlessly floats through waves of thick bass, funk guitar chops and elegantly fused samples, with seductive chords, hypnotic horns and laser-tight drums combining to create a near overpowering dream state.

The heavy trip-hop rhythms of 'Nightfall' enrapture the listener as rich chords discreetly beckon, with cascading congas, mysterious melodies and exotic refrains building before the glorious lead vocal appears like a hyper-luminous flash of light. The chords disappear into the nothingness, before the carefully selected sample of 'Working Man' drifts in to fill the empty space. Smokey drums soon arrive, joined by weighted bass, foggy chords and an enigmatic whistle lead, fusing to conjure a half-lit world lifted from the pages of an evocative film noir novel.

The enlivening tablas, glitchy effects and saucer-eyed sweeps of 'Greed' hide subliminal messages casting a knowing eye over the consumer-driven society and self-help culture that pervade our society, before we arrive at the album's charmed finale. 'Last Winter Of My Childhood' yet again manages to transport the listener into a gently hallucinatory realm, with drowsy bass notes, tripped out pads and emotive strings building to a profound and rush-inducing crescendo.

'The Novel Sound' once again sees Third Attempt dextrously merging expansive musical aesthetics that fuse trip-hop, funk, soul and disco to deliver a sound that – although endowed with vintage sensibilities – feels proudly up to date. Continuing his breathtaking development in dazzling style, the album feels destined to echo over blissed-out sunsets, back-room excursions and twilight skies for many years to come.