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"In July of 2023, Neil Young released the OFFICIAL RELEASE SERIES VOLUME 5, a stunning collection comprised of four classic albums that begins with the exciting renaissance that came with the release of FREEDOM in 1989, and continues on the unequaled exploration of collections RAGGED GLORY (1990), WELD (1991) and ARC (1991). In many ways, it is a musical travelogue of how Young saw the future and opened up creative worlds for the use of sound and originality which had not been used before.

Now, each of these titles from ORS 5 will become available once again as stand-alone albums on both
vinyl and CD. When these four albums were released in the box set last July, it was the first time they had
been remastered for vinyl."

"In July of 2023, Neil Young released the OFFICIAL RELEASE SERIES VOLUME 5, a stunning collection comprised of four classic albums that begins with the exciting renaissance that came with the release of FREEDOM in 1989, and continues on the unequaled exploration of collections RAGGED GLORY (1990), WELD (1991) and ARC (1991). In many ways, it is a musical travelogue of how Young saw the future and opened up creative worlds for the use of sound and originality which had not been used before.

Now, each of these titles from ORS 5 will become available once again as stand-alone albums on both
vinyl and CD. When these four albums were released in the box set last July, it was the first time they had
been remastered for vinyl."

"In July of 2023, Neil Young released the OFFICIAL RELEASE SERIES VOLUME 5, a stunning collection comprised of four classic albums that begins with the exciting renaissance that came with the release of FREEDOM in 1989, and continues on the unequaled exploration of collections RAGGED GLORY (1990), WELD (1991) and ARC (1991). In many ways, it is a musical travelogue of how Young saw the future and opened up creative worlds for the use of sound and originality which had not been used before.

Now, each of these titles from ORS 5 will become available once again as stand-alone albums on both
vinyl and CD. When these four albums were released in the box set last July, it was the first time they had
been remastered for vinyl."

The trio of Japanese Saxophone legend Akira Sakata with the scandinavian rhythm section presents already his fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music - drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording Mitochondria.

‘Feels’ is Animal Collective’s sixth studio album, originally released in 2008. The album features all four band members - Avey Tare, Deakin, Geologist and Panda Bear.
‘Sung Tongs’ is the band's fifth studio album. Originally released in 2005, the album features Avey Tare and Panda Bear.
Both albums available on 140g black double vinyl in poly inner sleeves and gatefold jackets with matte UV finish, plus digital download card.

On 4 October 2024 Universal Music Recordings and Decca Records are making Jamaican/British jazz saxophonist Joe Harriott’s album ‘Movement’ available again for the first time since it was released in 1964. Long sought after by collectors and connoisseurs, original copies now sell for upwards of £1,000.

This new edition was mastered at Abbey Road using high definition 24bit/192kHz audio files, copied directly from the original stereo analogue master tapes (previously only the mono version has been on vinyl). Images of those tapes are included in the package alongside new sleeve notes written by noted author, compiler and documentary maker Tony Higgins, who also acts as Executive Producer for Decca’s ‘British Jazz Explosion’ series.

Recorded in 1963, ‘Movement’ was released as part of the Lansdowne Series, overseen by the influential Denis Preston, one of the UK’s first independent record producers, and engineered by Adrian Kerridge. Of the nine tracks, seven are Harriott originals, whilst the other two were written by another pioneer of British Jazz, Michael Garrick. Playing alongside Joe were bassist Coleridge Goode (b. 1914 Jamaica, d. 2015 London), drummer Bobby Orr (b. Scotland 1928, d. 2020), pianist Pat Smythe (b. Scotland 1923, d. 1983), and trumpet/flugelhorn player Ellsworth ‘Shake’ Keane (b. St. Vincent 1927, d. 1997).

Born in Jamaica in 1928, Joseph Arthurlin Harriott was a pupil at the Alpha Boys School (alma mater to Harold McNair, Dizzy Reece, and a myriad of Ska greats). He arrived in Britain in the early ’50s, initially touring with the Ozzie Da Costa Band, followed by a brief spell with the Ronnie Scott Big Band, and sessions backing the likes of George Chisholm, and Lita Roza.

By the mid ’50s Joe was a big enough draw to release records under his own name, and whilst these early recordings conform to the then popular bop style, the following decade would see him release albums whose titles chart his development; ‘Free Form’ in 1960, and ‘Abstract’ in 1963.

‘Movement’ is a testament to Joe Harriott’s visionary approach to jazz. It blends structure with freedom, tradition with innovation, and individual expression with collective creativity. His development of free-form jazz represents a significant contribution to the genre, paralleling yet distinct from the work of Ornette Coleman and other American free jazz artists. It is an essential listen, not only for fans of British jazz, but jazz fans in general.

It is perhaps best summed up by the epitaph that now adorns Joe’s gravestone; “Parker? There’s them over here can play a few aces too.”

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022’s Pigments icy and warm, stripped-down and grand, familiar and otherworldly and now it has reunited them for Quiet in a World Full of Noise. By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. This year, Richard’s musician father experienced mini strokes while being diagnosed with cancer; and last year, her cousin Cisco was fatally shot seven times in New Orleans. Richard channels the emotional impact of these traumatic experiences of loss into her lyrics and vocal performances, which are left bare and human here, raw and unprocessed across the album. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether. On paper, Richard and Zahn’s audacious, impressionistic musical collaborations feel like a surprising match. Richard, a New Orleans–reared visionary, has had an improbable journey from late 2000s reality television and mainstream pop with girl group Danity Kane to become one of the most prolific, experimental, and visible indie R&B singer-songwriters of the last decade and a half, with seven solo albums under her belt. Zahn is an East Coast–raised multi-instrumentalist and composer working at the intersections of jazz, Americana, classical, and ambient pop. His growing solo discography includes People of the Dawn, Sunday Painter, Pale Horizon, and Statues I & II, as well as the duo’s first release, Pigments. “Pigments was one of the best projects I’ve ever made,” Richard says, “and the furthest I’ve ever been pushed as an artist.” The album was a critical hit, hailed as Best New Music by Pitchfork and receiving praise from Stereogum as Album of the Week, NPR Music, Bandcamp Daily, The Fader, Bitter Southerner, and Edition, among many other publications. The making of its follow-up, Quiet in a World Full of Noise, began in 2023 in upstate New York. Fresh from a break-up, Zahn sat at his piano and poured himself into writing and recording instrumental compositions. “I wrote all these stream-of-consciousness pieces on piano, and they were eerie, spacious piano tracks,” he said. He used a piano that had been unconventionally tuned to the room rather than to standard pitch. These oddly-tuned, eerie instrumental recordings were never intended to be an album. Six months later, he listened to the recordings again and sent them to Richard who immediately recognized their potential and said, “Oh, this is the next album.” Richard went into the studio the next day and wrote and recorded melodies and lyrics to Zahn’s piano recordings. Zahn brought in gifted musicians like Bryan Senti on strings (violin, viola, and violoncello da spalla) and CJ Camerieri on brass (French horn, flugelhorn, and trumpet). In some cases, like on the track “Life in Numbers,” Zahn used only the original first-take piano recording and scratch vocal, resulting in an intimate close-up of both Richard and Zahn.

Originally released following Deep Purple’s split in 1976, David Coverdale’s first two solo albums will be available on vinyl for Rocktober 2024, newly remixed and presented as Whitesnake records. Featuring future Whitesnake lead guitarist Micky Moody, and produced by Deep Purple’s Roger Glover, these long out of print albums are a key part of the David Coverdale and Whitesnake story.

Pressing of the first studio album from Type O Negative, now available on 140g 2LP green and black marbled vinyl

Dame Area's highly anticipated fourth studio album, "Toda la verdad sobre Dame Area" ("The Whole Truth about Dame Area"), a collaboration with the renowned labels Mannequin Records and Humo Records.

Formed in 2017 within the vibrant underground scene of Barcelona's Màgia Roja club, Dame Area comprises the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux. They fuse industrial-tribal polyrhythms with minimalist synth basslines, drawing profound inspiration from avant-garde masters such as Esplendor Geometrico, Throbbing Gristle, Suicide, Einstürzende Neubauten, Can, Coil, Swans, Big Black, and Wolf Eyes.

This record represents a new phase in Dame Area's discography. It's a big step up in terms of sound, composition and ideas. This record it's the perfect representation of what they have been playing live the last three years and what most people know them for. Also it serves as a companion piece to 2022’s Toda la mentira sobre Dame Area ("All The Lies About Dame Area"), which had a stronger focus on melody, while this latest record is more aggressive and industrial-influenced, with a greater emphasis on percussion.

Tracks like the Suicide-influenced "Si no es hoy cuando es" and "Sempre Cambiare" are an onslaught of industrialism and experimentalism—formidable, volatile, and unpredictable avant-garde subversion. Silvia explains, "One of our biggest influences is doing what our influences wouldn't do. We're more into dynamics and structures atypical of electronic music, with changes in time signatures, starts and stops, and dynamics more typical of rock music. We use any musical idea from any genre. Some songs on the album are based on flamenco rhythms, others influenced by '60s experimental pop, heavy metal, or contemporary electronic music."

The confrontational "Vengo dall'aldilà" accelerates with heavy percussion, while "Tu me hiciste creer" builds into a rhythmic, transcendent noise of yelled vocals and hypnotic beats. Viktor adds, "This song took us more time to complete than any other we have recorded. It was a very organic process, evolving slowly from some instrumental percussive stuff we were doing live. Then we started using feedback as a rhythmic element (through a metallic sheet), and this was the first song where we incorporated this element, typical of noise-rock and experimental rock."

Elsewhere, "Esto Es Nuestro Ruido" represents a manic, eclectic form of contemporary industrial music, post-punk, and EBM. Silvia notes, "It's the first album we recorded outside a studio. Although we've been playing live with metallic percussion and floor tom from the very start, in the studio, with some exceptions, it was mostly sample-based until now. On Toda la verdad sobre Dame Area, all drums and almost all metallic percussion have been recorded live."

With a growing reputation as one of the best live bands around since their inception, Dame Area has toured extensively across Europe, performing at renowned festivals like Atonal, CTM, Nuits Sonores, Dour, and Fusion, as well as legendary clubs such as Berghain, Tresor, Apolo, and Spook Factory.

Recorded at Sol de Sants Studios and Estudio Hermetic between August and November 2023

Silvia Konstance: vocals, synths, percussions, electronics, production
Viktor L. Crux: synths, drums, percussions, electronics, production
Mixing and additional production by Guillermo Sánchez Rojo
Mastering by Paul Mac at Hardgroove Mastering
Designed by Leo Sousa
Photography by Fabio Calabretta
Photo concept by Dame Area

For almost 10 years and with 3 albums on the clock, Voilaaa has established itself with a unique style, reviving African rhythms and atmospheres in the colors of Disco dancefloors and Funky arrangements, all often accompanied by lyrics and vocals tinged with humor and commitment.

As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.

With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.

As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.

Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.

Well, Voilaaa is back as its best, “that’s all” (C’est tout).

Being Punk and Hippie at the same time.
Les Rythmes Ruban experiment with the idea by doing absolutely what they want, but with love. Moving forward with enthusiastic trial and error has the double advantage of enjoying the scenery and easily crossing paths with people we love.
The first encounter between Marina P and Blundetto took place in 2014 with their collaboration on the track "Last Broken Bones" from the album "World Of". Marina, who had just created her label Homeys Records, continues to multiply experiences on stage and in the studio, solo or always well accompanied (Mungo's Hi-Fi, Stand High Patrol, Woman Hi-Fi with Biga*Ranx, Jahtari...).
But Marina's spectrum of influences goes far beyond reggae, drawing from the jazz sound of her parent's record player, her cello practice, and the discovery of great voices of Soul and Jazz like Nina Simone, Billie Holiday, Chet Baker...
The track "Eugenio", written and composed by Marina, embodies all of this; it belongs to no particular style. It's primarily the evident essence of the song, its lyrics, and its emotion that inspired Blundetto to "set it to music", available to your ears in two different arrangements

UK-born, Lisbon-based DJ, Producer, Songwriter, and activist Megatronic joins the RNT roster with her ‘Do I Belong To You?’ EP, a bold statement of her soulful and visionary sound. Side A opens with the deeply emotive ’The World’ featuring soulful and melancholic vocals by Stavros, then moves to the pulsating and freewheeling groove of Nuffin’ But Love (co-produced by Jitwam) and finishes with the jazzy vibes of Organic, with Meg’s sultry spoken poetry floating over live instrumentation. On the flip side two superlative remixes by heavyweights Jimpster and Kiko Navarro take Meg’s music straight to the dance floor, with Jimpster bringing is his signature lush deep textures to ‘Been Thinking’ (the original of which is available as part of the digi EP only) and Kiko delivering an acid afro-house banger of a mix on ‘The World.’ A gorgeous listen from beginning to end, this EP captures a sound that feels both classic and futuristic all at once.

Ltd Double Silver Vinyl, Monochrome edition artwork, DL card. Originally released in 1990, Royal Trux’s ‘Twin Infinitives’ is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart’s ‘Trout Mask Replica’, the Velvets’ at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore’s Neil "Michael" Hagerty and Jennifer Herrema recorded ‘Twin Infinitives’ while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with Moogs, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before “genre mashups” even existed. Arguably, the term “mashup” was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album’s chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock ‘n’ roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. “Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now.” Pitchfork. Track List: Disc One: A1 Solid Gold Tooth A2 Ice Cream A3 Jet Pet A4 RTX-USA A5 Kool Down Wheels B1 Chances Are The Comets In Our Future B2 Yin Jim Versus The Vomit Creature B3 Osiris Disc Two. C1 (Edge Of The) Ape Oven D1 Florida Avenue Theme D2 Lick My Boots D3 Glitterbust D4 Funky Son D5 Ratcreeps D6 New York Avenue Bridge

AVAIBLE NOW !!!

The ultimate banging legendary Tekiteazy have been remastered by Zone 33 and recut by Simon The Exchange... Bringing out a hot round frequency fighta' for every dancefloor !

2024 Repress

The newly remastered edition of the 1985 LP ‘Song of the Motherland’ by Shabaka’s father AnkAnu(formerly Anum Iyapo) will be reissued via Native Rebel Recordings. The album was remastered by Guy Davie at Electric Mastering, and has new cover art and design by Anum. The album will be available May 25th (African Liberation Day)

Info/Bio
Afrika Liberation Day (ALD) is observed on the 25th May. Events have historically been held on the weekend/bank holiday surrounding this date, which makes this coming weekend, ALD weekend.
The Album is a triumphant celebration of Afrikan-Caribbean verbal expression. The songs combine to haunting effect, the Rastafari Nyabinghi' drumming of Jamaican and continental Afrikan and Pan-Afrikan percussion and musical styles (even an Australian Aborigine Didgeridoo) with his folk-roots based Afrikan Jamaican vocal style.

The result is uniquely creative in construction and style, thought- provoking, entertaining and spiritual in content. The power of Anum I word and sound will paint mental imagery of red, gold, green and black.
Prepare yourself…

Egle Martin enjoyed a long career as a dancer, actress, singer and played an important role in the promotion of Afro roots in Rio de la Plata and in reclaiming Afro-Argentine culture. Her performances were fresh and powerful, showcasing diversity and, later on in her career, her desire to diffuse Afro-Latin American culture. By the time this single was recorded, Egle Martin had already performed in several plays and films; she had already sung with Dizzy Gillespie and the Berlin Symphony Orchestra; she had already released an album with composer and bandoneon player Astor Piazzolla. And she was already beginning to frequent the Casa Suiza, with its gatherings and carnivals in the neighborhoods of San Telmo and San Nicolás in the beautiful Buenos Aires of the 1960s, teeming with happenings and avant-garde galleries. Egle sings in Spanish and her voice dazzles with a very distinctive sound and texture as she performs these rhythms; you can clearly appreciate the freedom and power in her vocals. In 'El Dombe' tenderness permeates the lyrics as she tells the world what this dance and its cadenced rhythm is all about. 'Dombe Bariló' is bolder and more sweeping in scope: the ritual and empowering message is uplifting... Roberto Montiel's arrangements are a prime example of the brilliant fusion of soul, funk and Latin American music, all linked through Afro roots. Originally released in 1970 on Music Hall in Argentina, it has become an elusive and sought-after record over the years, at the top of many collectors wants list due to its amazing dance floor energy. First time 7” reissue. TRACKLIST Side A EL DOMBE Side B DOMBE BARILO

Originally released in 1959, this is Blue Mitchell's third release as a leader. The brilliant trumpeter is joined by an all-star lineup that includes Wynton Kelly on piano, Philly Joe Jones on drums, Sam Jones on bass, Curtis Fuller on trombone, and Jimmy Heath on tenor sax. A great piece of forgotten late '50s hard-bop, it is truly a treasure of an album finally resurrected by Wax Love. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans.

"Building off of their debut album last year, legendary musicians and 577 mainstays reunite for a second volume. As in the first, saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parker (also playing Gralla and Shakuhachi on this album), and drummer and vocalist Francisco Mela, unite for another cosmic album. This project again draw from classic jazz arrangements, juxtaposed with a modern experimentalism and a huge range of instrumentation. Shine Hear, Vol. 2, their newest avant-garde album is testament to their mastery and ease. The album and tracks titles are inspired by another poem Carter wrote about the transience and motion of modern life. On these improvisations Francisco Mela sings themes inspired by the Cuban traditional repertoire."

Daniel Carter - Saxophones, trumpet, flute.
Leo Genovese - Piano.
William Parker - Bass, shakuhachi.
Francisco Mela - Drums, voice.

Recorded on July 16, 2021 by Jeremy Loucas at Sear Sound, New York City.
Mixed and mastered by Jeremy Loucas.
Illustration by Robert Mirolo.
Graphic design by Mark Smith.

Sechs Jahre sind vergangen, seit Peter Galls aufsehenerregendes Debutalbum "Paradox Dreambox" das Licht der Welt erblickte. Was als leichtfüßiges Experiment begann, wurde zu einem starken musikalischen Statement, das in der Jazzwelt auf begeisterte Resonanz stieß und erfolgreiche Touren mit einer großartigen Band nach sich zog. Nun folgt endlich das lang ersehnte zweite Album: Auf LOVE AVATAR setzt der im oberbayerischen Bad Aibling geborene Wahlberliner seine Suche nach neuen musikalischen Galaxien und Paradoxien, emotionalen Eruptionen, unwiderstehlichen Grooves sowie dem Unwirklichem, Übersinnlichem und der Liebe in der Musik fort.
LOVE AVATAR von Peter Gall und seinen Mitstreitern ist reichhaltiger, komplexer, aber auch fokussierter und konsequenter als der Vorgänger. Mystisch, heißblütig und bissig, multidimensional und vor allem mit einem großen Fokus auf mitreißenden Grooves. Ein reines Jazzalbum ist es irgendwie nicht, dafür gibt es zu viele Parallelwelten. Dennoch spielt der Jazz, das Unvorhersehbare, die blinde Interaktion und der Mut zum Risiko die wichtigste Rolle in diesem Konglomerat aus Post Bop, Fusion, Baião, hymnischem Indie Rock, melancholischen Synth-Sphären und hypnotisierenden Beats.
LINE UP:

Wanja Slavin - saxophones, flute, keys, synth solo on "Closing The Chapter"?
Reinier Baas - guitar?
Rainer Böhm - piano, keys, synth solo on "Heroes"?
Matthias Pichler - bass?
Peter Gall - drums, percussion, synth

From the very first listen to Bingo paradis, the perfect antithesis of Ultra Dramatic Kid, his previous album, the melodic evidence and the catchy choruses jump out at you. As on the unreleased single Athènes/Petit soldat (2021), released between his two albums, Muddy Monk reconnects with his melodic instincts and instantly finds the right tempo on Arpailles, a suave instrumental with an unstoppable spin that immediately gives him the colour of the record still in the making. As usual, the musician accumulates machines and samplers in his home studio to develop a sound palette that is readily organic.

Muddy Monk's impressive career has been built up in his native Switzerland, far from the hustle and bustle of Paris, and he has always collaborated with a wide range of artists (Ichon, Jimmy Whoo, Myth Syzer, Ruby Red). Now, with Italian Giorgio Poi, he has found a new sidekick for a bilingual duet in the form of a summer hit: Tic Tac. And there's no shortage of hits (Chaki Queen, Toujours t'avoir) on this album of cocagne. Accompanied here and there by keyboardist Paul Prier (Christine and the Queens, Charlotte Gainsbourg), Muddy Monk has pulled off a brilliant hat-trick, adding yet another masterpiece to his exemplary discography.

Global superstar Ed Sheeran will release the ‘‘+-=÷× (TOUR COLLECTION)’ on 27th September on CD and Bright Blue 2LP. Sheeran made the announcement last night (Sunday 8th September 2024) after enthralling fans on the closing leg of his 2024 Mathematics World Tour in Cyprus.

‘+-=÷× (TOUR COLLECTION)’ brings together some of Ed Sheeran’s biggest songs to date from his decade-spanning mathematical album era. It will be available on CD, 2xLP (Bright Blue vinyl), Download and streaming partners. The physical formats will include access to exclusive voice notes from Sheeran. A brand new selection of related merchandise will also be available.

Ed Sheeran is an era-defining artist who has sold nearly 200 million records across the globe. After starting his record-breaking Mathematics Tour in Dublin back in 2022, Sheeran has taken his blockbuster show all over the globe with an astonishing total of 133 performances under his belt so far. With one more show this month in Rio De Janeiro, Sheeran has announced another run of European shows for 2025 which will form part of the final leg of his Mathematics tour, all while continuing to break records and make history.

‘+-=÷× (TOUR COLLECTION)’ features 22 tracks including the tracks ‘Shape Of You’, ‘Perfect’ ‘Thinking Out Loud’, ‘Photograph’, ‘Shivers’ and ‘Bad Habits’. The song ‘Afterglow’ appears on vinyl for the very first time. The tracklisting includes 9 UK Number 1 singles with 11 tracks that have been streamed in excess of 1 Billion times on Spotify.

Global superstar Ed Sheeran will release the ‘‘+-=÷× (TOUR COLLECTION)’ on 27th September on CD and Bright Blue 2LP. Sheeran made the announcement last night (Sunday 8th September 2024) after enthralling fans on the closing leg of his 2024 Mathematics World Tour in Cyprus.

‘+-=÷× (TOUR COLLECTION)’ brings together some of Ed Sheeran’s biggest songs to date from his decade-spanning mathematical album era. It will be available on CD, 2xLP (Bright Blue vinyl), Download and streaming partners. The physical formats will include access to exclusive voice notes from Sheeran. A brand new selection of related merchandise will also be available.

Ed Sheeran is an era-defining artist who has sold nearly 200 million records across the globe. After starting his record-breaking Mathematics Tour in Dublin back in 2022, Sheeran has taken his blockbuster show all over the globe with an astonishing total of 133 performances under his belt so far. With one more show this month in Rio De Janeiro, Sheeran has announced another run of European shows for 2025 which will form part of the final leg of his Mathematics tour, all while continuing to break records and make history.

‘+-=÷× (TOUR COLLECTION)’ features 22 tracks including the tracks ‘Shape Of You’, ‘Perfect’ ‘Thinking Out Loud’, ‘Photograph’, ‘Shivers’ and ‘Bad Habits’. The song ‘Afterglow’ appears on vinyl for the very first time. The tracklisting includes 9 UK Number 1 singles with 11 tracks that have been streamed in excess of 1 Billion times on Spotify.

American singer, songwriter and guitarist Boz Scaggs rose to fame in the 1970s with several top 20 hit singles in the United States. In 1976, he teamed up with a group of session musicians who would later form Toto and recorded his seventh album, Silk Degrees, which became a huge hit. The album reached #2 on the US Billboard 200, #1 in a number of countries around the world, and spawned three hit singles: “Lowdown,” “Lido Shuffle,” and “What Can I Say,” as well as the MOR standard “We’re All Alone,” which was later recorded by Rita Coolidge and Frankie Valli.

Silk Degrees is available as a limited edition of 750 copies on translucent blue coloured vinyl and includes an insert.

A new piece by minimalist / experimental composer PHILL NIBLOCK (1933 - 2024), co-composed and performed by ANNA CLEMENTI & THOMAS STERN. Intense, menacing layers of thick drones and alien sounds.

In summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that when the time has come for it), the other email was from ANNA CLEMENTI saying she and THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her … when "Zound Delta 2" was complete, PHILL sent photographs for the two artworks, we met twice to discuss details, but unfortunately he died unexpectedly early january this year so the album now is, sad as it is, a posthumous release … an intense goodbye from one of 20thcentury most iconic composers.

Phill Niblock

Phill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, Niblock's signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l'Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award.

Anna Clementi

Italian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and completed acting training before moving to Berlin and studying experimental vocal music and experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now UdK Berlin). Anna Clementi sees herself as an "actress of the voice" rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression, with which she is always searching for new connections between voice, gesture, language, dance and theater.

During her decades spanning career, Anna Clementi has performed at the most important festivals, has premiered numerous works, many of which have been composed especially for her, and worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski, Olga Neuwirth, Josef Anton Riedl, Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott Sharp, and many others.

A special focus of hers is the work of John Cage, whose pieces she has performed worldwide.

Thomas Stern

Born in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler and many more, on the road or in his own Sternstaubstudio.
credits:

Anna Clementi: voice

Thomas Stern: slide guitar, bass and soundprocessing

Composition by Phill Niblock, Anna Clementi and Thomas Stern

Recorded and mixed by Thomas Stern at Sternstaubstudio, Berlin

Mastering and lacquer cut: Kassian Troyer at D&M, Berlin

Cover photography by Phill Niblock

Layout and design by kaidoh

"Soulfisticated Bumps" è l'ultima creazione del producer JayBee Vibes, un'esperienza sonora che fonde abilmente l'anima del jazz con il ritmo incalzante dell'hip hop. Questo album è una collezione di 25 beat strumentali che catturano l'essenza groovy della musica urbana, trasportando l'ascoltatore in un viaggio attraverso paesaggi sonori sofisticati e avvolgenti.
Con un mix di samples jazz e suggestioni lo-fi, ogni traccia è un'esplosione di creatività e energia. I synth bass pulsanti e le batterie rimbalzanti sono l'elemento guida di questo viaggio, facendo muovere la testa e il corpo con il loro ritmo irresistibile.
L'artwork dell'album è un capolavoro firmato da Cammamoro, rinomato fumettista ed illustratore italiano, che cattura perfettamente lo spirito e l'atmosfera dei brani contenuti in "Soulfisticated Bumps".
Questo lavoro è stato pubblicato sotto l'etichetta italiana Beat's Tailors, confermando ancora una volta la loro dedizione a promuovere artisti innovativi e suoni unici nel panorama musicale contemporaneo.
Descr: ENG


"Soulfisticated Bumps" is the latest creation from producer JayBee Vibes, a sonic experience skillfully blending the soul of jazz with the pulsating rhythm of hip hop. This album is a collection of 25 instrumental beats that capture the groovy essence of urban music, taking the listener on a journey through sophisticated and enveloping soundscapes.
With a mix of jazz samples and lo-fi suggestions, each track is an explosion of creativity and energy. The pulsating synth bass and bouncing drums serves as the guiding element of this journey, making heads and bodies sway with its irresistible rhythm.
The album's artwork is a masterpiece crafted by Cammamoro, renowned Italian comic artist and illustrator, perfectly capturing the spirit and atmosphere of the tracks contained in "Soulfisticated Bumps".
This incredible work has been released under the Italian label Beat's Tailors, once again confirming their dedication to promoting innovative artists and unique sounds in the contemporary music scene.

On this new album 'BEEFKAT', Skordatura, Jozef Dumoulin and Mâäk find each other in a rough embrace of energy and raw expression, averse to compromise and with an unbridled passion that encompasses everything beautiful and ugly.

SKORDATURA
With undulating rhythms, sharp injections, angular grooves, snippets of humour and an unreal sound

sometimes reminiscentof the intergalactic funk of Battles, Skordatura conjures up a simmering pot of ideas. Fender Rhodes wizard Jozef Dumoulin provides additional fireworks as the fourth newly enlisted Skordaturian.

JOZEF DUMOULIN
Belgian pianist Jozef Dumoulin redefined the Fender Rhodes keyboard thanks to his contemporary, eclectic, and highly personal approach to the instrument. Besides his own projects, he is also a much sought-after sidekick on the jazz and improvised music circuit. Jozef currently lives in Paris.

MÂÄK
Formed more than 20 years ago as a fascinating jazz ensemble, it has now become a versatile collective with international ramifications. With Mâäk, the ever-adventurous Laurent Blondiau, Jeroen Van Herzeele, Michel Massot and Grégoire Tirtiaux form one of the most exciting avant-garde jazz bands in Belgium.

Exzellente, Karriere umspannende Werkschau zum 80-jährigen Geburtstag des französischen Modern-Jazz-Vertreters Frederic Rabold, der seit Ende der 1960er bis heute aktiv ist, mit Avantgarde-Musikern wie Gunter Hampel, Leszek Zadlo und Lester Bowie arbeitete und neben Albert Mangelsdorff, Klaus Doldinger und Dave Pike auf der Bühne stand. Limitierte Deluxe-Auflage auf schwarzem Bio-Doppelvinyl im Gatefold mit ausführlichen Linernotes (dt. & engl.), bislang ungesehenen Fotos und Download-Code. 17 Tracks.

“I am OBSESSED with the 80s. I love the loud neon colours and fashion and the kinetic energy of the music. It’s uplifting and bittersweet with a ton of keyboards, what’s not to like?” reasons Morgane when asked what it is she likes about the decade. This exuberance is brightly reflected in the mirror ball synthpop of her third album released at the end of September. It is her second long player to appear on vinyl after the release of Between The Funk And The Fear debut on the Polytechnic Youth label.

Morgane was the keyboard player in Stereolab between 1995 and 2001 during which time they released Emperor Tomato Ketchup (her favourite) and Dots And Loops. As a teenager though she first played the drums, then guitar and bass. She only learnt the keyboards one month before joining the group. “They gave me 40 songs to learn, it was a baptism of fire”.

After leaving Stereolab, Morgane first moved to New York for nine years; she’d always planned to move to America having spent a lot of time there with her parents and of course those space-pop pioneers. The warmer weather of LA enticed her though and you can hear its pulse in Day-Glo Chaos. The album’s thumping heart is pumped by the city’s night sky and when asked she cites three particular albums as her favourites: the oddball analogue electro of Jacno’s 1979 debut; John Carpenter’s ‘Escape From New York’ and The B-52’s ‘Cosmic Thing’. There’s also a strong nod to the playful computerised harmonies of Yellow Magic Orchestra whilst she’s somewhat partial to the synth prog of Yes and Soft Machine. “I actually created a synth on Ableton Live named after Rick Wakeman’. I should create one after Mike Ratledge next!”

Throughout her work (but especially on this record) you can hear the influence of computer games. “I’m an avid gamer and have been one since I was a teenager and fell in love with my Commodore 64”. Though not a fan of Hotline Miami or the GTA series (“too violent”) she liked Hang On and loved Outrun which she used to play a lot on her Sega Master System. “I just got the soundtrack reissue from Data Disc and it is beautiful” she enthuses.

You’ll see and hear such influences on the lead single from the album ‘Midnite Rogue’ the video to which pays (im)perfect juddering homage to such arcade culture. Car tyres glued to sticky tarmac, French pop music lost in the air. The title was inspired by a Fighting Fantasy book which she adored as a kid. “I love the idea of this entity causing mischief during night time”, she beams. It’s not hard to see why.

Sun-scorched riff-rock propelled from the windswept heart of the desert! Blue Heron expand on their unyielding desert sound with a new slab of propulsive, sun-scorched riff-heaviness. Everything Fades finds the band reveling in low-tuned roil and amplifier hum, churning out swerving grooves as if the atavistic, primordial spirit of the desert itself compels them. Balanced between laid back, meditative atmospherics and heavier, more aggressive lunges, these cruising jams and gritty stoner romps call to mind echoes of Kyuss, Clutch and Soundgarden, along with modern contemporaries like Valley of the Sun and High Desert Queen. Full of rhythmic intensity, sledgehammer riffing, and vocals ranging from clean and moody to howling and raw, Blue Heron cover a wide expanse of musical ground that shows how familiar influences can still be molded into inventive, exciting new forms. New album of grooving, raw desert rock for fans of Kyuss, Valley of the Sun, Clutch and High Desert Queen Presed on sleek blue vinyl, available as Digipak-CD, too.

Sun-scorched riff-rock propelled from the windswept heart of the desert! Blue Heron expand on their unyielding desert sound with a new slab of propulsive, sun-scorched riff-heaviness. Everything Fades finds the band reveling in low-tuned roil and amplifier hum, churning out swerving grooves as if the atavistic, primordial spirit of the desert itself compels them. Balanced between laid back, meditative atmospherics and heavier, more aggressive lunges, these cruising jams and gritty stoner romps call to mind echoes of Kyuss, Clutch and Soundgarden, along with modern contemporaries like Valley of the Sun and High Desert Queen. Full of rhythmic intensity, sledgehammer riffing, and vocals ranging from clean and moody to howling and raw, Blue Heron cover a wide expanse of musical ground that shows how familiar influences can still be molded into inventive, exciting new forms. New album of grooving, raw desert rock for fans of Kyuss, Valley of the Sun, Clutch and High Desert Queen Presed on sleek blue vinyl, available as Digipak-CD, too.

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.

The Man With The Horn is the 1981 album by Miles Davis, which he recorded after persuasion by his nephew Vince Wilburn, a drummer in a Chicago group that played music that combined funk, soul, and fusion jazz. Miles also met the saxophonist Bill Evans, the bass guitarist Marcus Miller and called the drummer Al Foster. The studio result was a hybrid record, divided between the Chicago group’s pieces that he himself referred to as “bubble gum music” and a very free jazz-rock. However, it's less somber and dense than the damp jungles he wandered through without direction during the 1970s. The hit “The Man With The Horn” and its sugary-sweet refrain received a lot of airplay on FM stations. Jazz lovers, rejoicing in Miles’ return, delighted in the rest of the repertory. But it was Mike Stern’s incandescent solo on “Fat Time” that everyone relished. The Man With The Horn is available as limited edition of 1500 individually numbered copies on gold and black marbled vinyl.