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Jayda G, die Grammy nominierte Produzentin, DJ, Umwelttoxikologin und -aktivistin, meldet sich mit ihrem neuen Album, „Guy“, zurück. Das Album wurde gemeinsam mit Jack Peñate produziert (der bereits mit Künstler:innen wie Sault, David Byrne und Adele zusammengearbeitet hat), mit Beiträgen von Lisa-Kaindé Diaz (von Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) und anderen.

Das Album erscheint nach ein paar ereignisreichen Jahren, in denen sie für einen Grammy nominiert wurde (für ihre Single mit Fred Again.., „Both Of Us“), eine Reihe hochkarätiger Remixe für Taylor Swift und Dua Lipa veröffentlichte, auf den größten Festivals und Bühnen der Welt spielte, darunter Glastonbury und Coachella, eine Compilation für die renommierte „DJ Kicks“-Reihe und eine hochgelobte Zusammenarbeit mit Aluna veröffentlichte, als Gastjurorin bei der BBC-Show „Glow Up“ auftrat, ihre Jugendliebe in ihrer kanadischen Heimatstadt Grand Forks heiratete und an der immersiven Installation „Undercurrent“ (New York, Juni '21) mitwirkte, die sich neben Künstler:innen wie Khruangbin, Nosaj Thing, Mount Kimbie und Bon Iver mit der Klimakrise befasste.
Das neue Album, „Guy“, stellt Jayda Gs eigene Stimme und ihre Lyrics stärker in den Mittelpunkt als je zuvor. Die 13 Tracks basieren auf ihren House-, Disco-, R&B- und Soul-Wurzeln und betonen gleichzeitig ihr Feingefühl als Pop-Songwriterin, durchsetzt mit Archivaufnahmen ihres verstorbenen Vaters, William Richard Guy. Trotz der manchmal traurigen Natur des Ausgangsmaterials erweist sich das Album letztendlich als eine erhebende und positive Erfahrung, sowohl musikalisch als auch von der Botschaft her, die es vermittelt.

Formate:

- Standard CD in FSC-certifiziertem Gatefold. Um die Produktion der CD zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat.
- Farbiges*, limitiertes Standardvinyl in FSC-certifiziertem Gatefold inklusive Downloadcode. Um die Produktion des Vinyl zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat. *Haftungsausschluss: die endgültige Farbe kann vom Mockup abweichen

New Land präsentiert mit Stolz das erste Box-Set mit mehreren LPs von Dorothy Ashby - einer der am meisten übersehenen Künstlerinnen der Jazzgeschichte. Die 6 LPs, die in diesem aufwendigen Box-Set enthalten sind, geben einen längst überfälligen Rückblick auf ihre frühen Werke: 'The Jazz Harpist', 'Hip Harp' mit Frank Wess, 'In A Minor Groove' mit Frank Wess, 'Soft Winds: The Swinging Harp Of Dorothy Ashby', 'Dorothy Ashby' und 'The Fantastic Harp Of Dorothy Ashby' wurden mit der vollen Unterstützung des Nachlasses von Dorothy Ashby offiziell lizenziert.

Alle Alben, mit Ausnahme von 'The Jazz Harpist' und 'Dorothy Ashby', wurden von Kevin Gray direkt von den analogen Originalbändern neu gemastert und im Lackschnittverfahren auf schwarze 180g-Vinyle gepresst.

Das Herzstück dieses Box-Sets ist allerdings das umfangreiche 44-seitige Buch mit einem Vorwort der Grammy-nominierten Harfenistin Brandee Younger, ausführlichen Linernotes von Shannon J. Effinger und bisher unveröffentlichten Fotos und Interviews mit denjenigen, die sie am besten kannten. Das Box-Set ist weltweit auf 1000 Stück limitiert.

“Are we having fun yet? Living in the grey zone”? The Toads ask the question and already know the answer. There’s many a wry smile, often packed with gallows humour, shared on the Melbourne groups’ debut album “In the Wilderness” (out June 9th on Anti Fade and Upset The Rhythm). Navigating the dross of modern life, whilst keeping one foot in a dream is the key to their nervy post-punk scuffle. Featuring members of The Shifters, The Living Eyes and Parsnip you’d be forgiven for guessing what The Toads sound like, but their mordant step and minor-key enchantment makes for an intriguing parry.
The Toads hatched after a short period of domestic readjustment mid-2021. Billy Gardner (guitar) found himself in need of a roof after his home was consumed by fire, and was kindly hosted by friend Stella Rennex (bass). Elsie Retter (drums) was a regular visitor to the house and after seeing Miles Jansen (vocals) tear it up with his other band at the local bowls club, they invited him along to sprinkle his deadpan musings across their fledgling sound. Pretty quickly they hit on their direction; a savvy, snappy lo-fi pop as openhearted as it is brooding.
After playing some formative shows, including a debut at Jerkfest in 2022, The Toads set about recording five songs mid-year for a tentative EP. Realising the songs were too long to fit on a 7”, they booked in another recording session the following September to extend the EP to 12”. Two tracks’ chords structures were fleshed out with new melodies and arrangements, and by this point The Toads were surprised to find they had an album’s worth of material. ‘In The Wilderness’ is a beguiling record, full of twists and turns. It’s arch, resilient, thoughtful and straight-at-your-head catchy to boot.

It’s fitting that the title track “In The Wilderness” draws this record to a close, being the peak of their invention so far. Drums pound and tumbling bass-lines sprint among the crisply stabbing guitar phrases and soaring horns outro. It’s a survivalist epic of hard-worn wisdom, ambling and restless. “I open up the door trying to get all of us through” sings Miles, becoming progressively more dizzy and despondent. There is a sense of toughing it out that never falters though and this is the essence of what The Toads do best. They push onwards into the darkness and keep their appetite, pulling us all into the light.

Assured UK house producer Andy Ash takes care of the next EP on SAFTX while the equally esteemed Mark E steps up to remix.

For well over a decade now, Andy Ash has been turning out high-quality house music on a range of labels. Last year he served up a tasteful full-length on Quintessentials, the year before he dropped a double 12" on Still Music and he is also a regular at the likes of Delusions Of Grandeur. From deep and dusty to disco-tinged and dynamic, he has a stylish sound that is well-versed in the classics but always his own twist. He shows that again here with four fresh tunes which cannot fail to make you feel good.

Opener 'You:Me' features Faber and os brilliantly warm house groove. The drums and hi-hats are prefectly designed, the vamping chords bring a playful funk and swirling pads add diffuse late-night energy. It's timeless cut with nods to the US midwest and subtle vocal sounds.

Remixer and Merc label boss Mark E has a rich history of edits and originals on the likes of Running Back, Delusions Of Grandeur and Studio Barnhus. On this version, he lays down hazy, heavy kicks for a beatdown workout that comes alive with gorgeous synt work akin to all the best Detroit dons.

Ash's 'Momentary Days' is a slow and roomy, dubbed-out house swinger. Well-placed samples - vocal coos, guitar riffs, jazzy chords - all peel off the loose drums and can't fail to get you moving. 'Reach' is another humid house cut for cosy back rooms and basements. The Scruffy drums have frayed edges while dreamy melodies loop up top. It's a heartfelt sound that slowly turns you to deep inward reflection.

Last of all is 'Rico! Rico!', a downtempo jazz-funk jam with crisp broken beats, keys that take you to the Riviera and strings so lush you can almost feel the sun on your face.

This deep house music as it should be - raw, expressive and full of human soul.

French producer Timothee Milton debuts on Local Talk with an EP that fumes of soulfulness in every direction.

Written by Angela Johnson, the original is a big vocal deep house jam that got some hints of the 90s Jersey sound..but not too retro ;).

To give the package an extra edge we enlisted deep house connoisseur Hugo LX and boogie-house maestro Art Of Tones for the remixes, and our boys really delivered the goods.

Hugo's mix is a classy as it gets, supa bumpy deep house where everything little production detail is delivered with good taste.
The Art Of Tones remix is equally strong but goes for a more uplifting approach and puts the funk, boogie and soul front & centre.

In the KID BE KID superhero universe, the fact that she is not only a singer but also a virtuoso pianist goes without saying. So much talent in one person would hardly be bearable if KID BE KID wasn't, above all, such a lovable funky freak!
"Naked Times! No More Lies! Here I am strippin' straight in front of your eyes," she chants in a futuristic dress with a gigantic shoulder width, and in the video clip she skillfully oscillates between the authenticity of her live performance and the complete unreality of the production.
Musically, it sounds like a finely curated neo-soul record collection pushed through a 2030s cyber-sound AI. Except that with KID BE KID, the beats don't come from the hard drive, but from her body: Human Beat Boxing. So hip-hop community members are welcome to nod their heads here.

In the 10 songs contained on "Truly A Live Goal But No Ice Cream" KID BE KID reflects on our existence between Internet publicity and Home Sweet Home, in which the mere start of the day can become a regular challenge! KID BE KID arms herself against the personified time and gives it an ultimatum: "Don't you dare not be better than last year!". As a result, everything in her life as well as musically finally takes a turn for the better...

KID BE KID has been touring Europe almost non-stop since last summer, has been recording vocals for Netflix ("Rumsspringa") and, in her remaining free time, has been hanging out in the young Berlin jazz and abstract beats scene.
All these influences can now be heard on her fantastic new album, where KID BE KID seems extremely determined to make the world a little bit better with her art:
"We are here for a reason, Move! Be the better Move!", she challenges herself and us in her song "Move" and of course: KID BE KID is a movement we are only too happy to join in 2023.

She has been a celebrated sensation for years for her live performances anyway, so it's no wonder that she is only too happy to make fun of all the boring online productions, including bloated self-marketing in her lyrics: "You'll have to post 5 times a week, at least 5 videos and one pic, if not your audience won't grow".
But since we have all become little self-marketing monsters with the desire for constant virtual pats on the back, KID BE KID directs this criticism primarily at herself: "Of course: For love everybody seeks, But it makes me sick, to do so, too" it also says in the song ("News Feed").

Well, when this album comes out in June, the ice cream parlors should finally be open again in real life. Walking there, with KID BE KID on the AirPods, we make a few jumps of joy! Because, honestly? This is really so incredibly good.

Blackened thrash veterans LEGION OF THE DAMNED slay on new studio album The Poison Chalice The LEGION slays again! Dutch thrash veterans LEGION OF THE DAMNED have once again entered into an alliance with the devouring depths of black and death metal and unleash another angry beast, The Poison Chalice, on May 26, 2023 via Napalm Records. The shredding monster delivers the most delicious pitch-black brew and tortures dark souls into demonic underworlds. Founded in 1990 as Occult, the thrash machine around founding members Maurice Swinkels and Erik Fleuren was reborn as LEGION OF THE DAMNED in 2005. On The Poison Chalice, the band unites with Fabian Verweij as second guitarist besides Twan van Geel and hails together with bassist Harold Gielen performing as a five piece for the first time ever on a studio album. Conquering the European charts for decades, the LEGION crowned itself at #17 in the Official German Album Charts with predecessor Slaves Of The Shadow Realms (2019). For almost 35 years, they have formed their aggressive signature sound from the most horrific ingredients of thrash and death metal, combined with brutal blackened influences, resulting in one of the most defined and unique sounds in the scene. The Poison Chalice comes to life by spreading its eerily beautiful wings within the first few seconds, then dives headfirst into a hellishly furious storm before the second song ""Contamination"" absolutely kills. In classic LEGION OF THE DAMNED manner, there is no escape as the track relentlessly drives into the abyss. The album spreads brutal and ice cold thrash soundscapes through relentless attacking drums and incredible guitar harmonies from both lead guitarists, underlined by angry bass lines. Infectious thrash treasures such as “Progressive Destructor”, and the almost seven-minute berserk “Behold The Beyond” break necks with hammering guitar riffs and bloody double bass infernos. “Beheading of The Godhead” delivers what the song title promises, before the past 48 minutes of hate closes with a final deep gulp from “The Poison Chalice” - leaving no one behind. Together with producer Erwin Hermsen, the band has closed the gates of the underworld in Toneshed Studio and demonstrates that they remain the unchallenged masters of brute and unrelenting death-thrash metal in 2023

2 LP Set, coloured Vinyl

Eine ins Ohr gehende Mischung aus hintergründigem Songwriting, warmem Pop, Soul und einer Prise Americana, und natürlich der einmaligen Stimme von Jenny Lewis, das ist „Joy’All“, das fünfte Solowerk der Künstlerin. Das Vorgängeralbum „On The Line“ (2019) wurde auf der Rolling-Stone-Liste der 100 besten Alben des Jahres geführt.

Die in Las Vegas aufgewachsene Singer-Songwriterin war zuvor schon Bandmitglied bei Rilo Kiley, The Postal Service, Jenny & Johnny und Nice As Fuck, und hat mit Größen wie Beck, Ringo Starr, St. Vincent, Vampire Weekend, She & Him, Brandon Flowers, Bright Eyes, Elvis Costello, Wavves und Bill Murray gearbeitet. Zuvor war sie als junge Schauspielerin in zahlreichen Kinofilmen und TV-Serien zu sehen.

Die erste Single aus dem neuem Album, „Puppy And A Truck“, bekam weltweite Aufmerksamkeit, weil darin niemand geringeres als Harry Styles zu sehen ist, für den Lewis einige Konzerte eröffnete.
Der intime, warme Live-Sound des Albums ist Markenzeichen des achtfachen GRAMMY-Preisträgers und Produzenten Dave Cobb (John Prine, Brandi Carlile, Chris Stapleton, Jason Isbell), mit dem Jenny das Album im legendären RCA Studio A in Nashville aufnahm.

Eine ins Ohr gehende Mischung aus hintergründigem Songwriting, warmem Pop, Soul und einer Prise Americana, und natürlich der einmaligen Stimme von Jenny Lewis, das ist „Joy’All“, das fünfte Solowerk der Künstlerin. Das Vorgängeralbum „On The Line“ (2019) wurde auf der Rolling-Stone-Liste der 100 besten Alben des Jahres geführt.

Die in Las Vegas aufgewachsene Singer-Songwriterin war zuvor schon Bandmitglied bei Rilo Kiley, The Postal Service, Jenny & Johnny und Nice As Fuck, und hat mit Größen wie Beck, Ringo Starr, St. Vincent, Vampire Weekend, She & Him, Brandon Flowers, Bright Eyes, Elvis Costello, Wavves und Bill Murray gearbeitet. Zuvor war sie als junge Schauspielerin in zahlreichen Kinofilmen und TV-Serien zu sehen.

Die erste Single aus dem neuem Album, „Puppy And A Truck“, bekam weltweite Aufmerksamkeit, weil darin niemand geringeres als Harry Styles zu sehen ist, für den Lewis einige Konzerte eröffnete.
Der intime, warme Live-Sound des Albums ist Markenzeichen des achtfachen GRAMMY-Preisträgers und Produzenten Dave Cobb (John Prine, Brandi Carlile, Chris Stapleton, Jason Isbell), mit dem Jenny das Album im legendären RCA Studio A in Nashville aufnahm.

Jetzt, da die Welt weitgehend aus ihrem Covid-induzierten Stupor erwacht ist, freut sich Per Nilsson darauf, SCAR SYMMETRY vollständig zu reaktivieren und die dramatischen, pulverisierenden Ereignisse von Phase II unter die Leute zu bringen. Getreu ihrem ursprünglichen Masterplan sind diese Könige der himmlischen Metal-Grenze dem Spiel immer noch weit voraus.
Eine Sache, die sofort klar wird, wenn Phase II in Gang kommt, ist, dass dies die brutalste Platte ist, die Scar Symmetry je gemacht haben.

Jetzt, da die Welt weitgehend aus ihrem Covid-induzierten Stupor erwacht ist, freut sich Per Nilsson darauf, SCAR SYMMETRY vollständig zu reaktivieren und die dramatischen, pulverisierenden Ereignisse von Phase II unter die Leute zu bringen. Getreu ihrem ursprünglichen Masterplan sind diese Könige der himmlischen Metal-Grenze dem Spiel immer noch weit voraus.
Eine Sache, die sofort klar wird, wenn Phase II in Gang kommt, ist, dass dies die brutalste Platte ist, die Scar Symmetry je gemacht haben.

Repress!

Let the celebrations begin, 10 Years of a vision Anané created and called Nulu, her independent label letting the world know about a genre we now know as Afro House, today after many years of dedicated work you'll find it as main stream.

Nulu means 'Nothing Ultimately Leaves Us' and just in time for Winter Music Conference in Miami Nulu presents a special vinyl sampler including 4 tracks representing 'Past, Present & Future' of the labels sound.

Side A includes an elegant and melodic remix of 'Ubatuba (Roots Mix)' by Grammy Award winner Louie Vega & Agev Mungsen feat. Anane, originally produced by Brazilian Soul Crew, where the fusion of Afro House and Soul help to soothe the spirit, followed by the African duo AMRoots aka Filipe Narciso and Fresh Nunas who deliver a fantastic combination of melodies and sounds ready to make dreamers dream with a fresh remix of their original release back in 2009 'Old Times At Barracuda (Cielo Roots 09 Remix)' and was also the first release for Nulu.

Side B includes a superb beat and unmistakable touch of Dj Angelo, bringing you straight to dance floor on a journey you'll wish to never leave and finish this 4 track sampler is the incredible talent of Manoo always setting the contemporary route of Afro House music with his modern style, creativity and authentic sound. The special vinyl sampler will be available exclusively at Winter Music Conference 2019 in Miami, and later for all Nulu followers. Take your time to know the Past, experience the Present and understand the Future of Nulu, a pioneering label of Afro House Music.tti

Albert’s Favourites label founder Scrimshire is set to release bold new album 'Paroxysm'. In the last few weeks of October 2022, Scrimshire wrote a new collection of songs with the descriptive working title "Scream". A direct response to the absurdity of the breakdown in the UK government, the horror of the treatment of refugees arriving on our shores and the callous disregard for the trauma being caused to low-income people or anyone considered "other". While self-preserving Conservative MPs fought for their jobs, record profits were announced by energy companies as they were gouging crippling amounts of money from people's pockets. The anger, sadness, mourning, and frustration he felt was poured into these recordings.

Originally named “Scream 8”, ‘Unity Gain’ was one of the early outpourings from those sessions. Piano and drums bubble up until it fully boils over with huge stabbing synthesiser and string sounds in an outburst of frenetic energy. "Division seems to characterise our daily experience”, says Scrimshire. “How does a society stop the callousness and corruption from seeping into its bones?".

Singer Faye Houston features on both ‘Eyes Shut’ as well as, alongside saxophonist, composer, and multi-wind instrumentalist Tamar Osborn, on ‘Flames’. About the latter Scrimshire explains, “One person can breathe fire into your life and the world, leaving an indelible mark. The album was influenced hugely by a friend we sadly have lost. I think of it like the heat you still feel after a fire has gone out”.

London-based poet and emcee The Repeat Beat Poet captures moments of time, thought, and feeling on ‘What Is The State Of Our State’, a furious yet succinct stream-of-consciousness diatribe in two parts. From afrobeat and reggae-influenced London band Soothsayers, clarinetist and saxophonist Idris Rahman features on ‘Your Invasion Is A Lie’, an ever-progressing, cosmic-jazz track.

The elegiac ‘Unforgotten, Unforgiven’ features saxophonist Nat Birchall, on which Scrimshire says "This is dedicated to the politicians who have forced refugees into life-threatening decisions. Pushing people into the hands of traffickers, into small boats and too many beneath the waves of our seas. Who force the lives of men, women, and children into more danger, in the hope of escaping war, poverty and persecution only to meet more cruelty and persecution. It won't be forgotten, and it won't be forgiven".

Scrimshire’s last album, 2021’s 'Nothing Feels Like Everything', received an Album of the Year nomination at the Gilles Peterson Worldwide Awards and last March he was named by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). Albert’s Favourites was formed by Adam, Dave Koor, and Jonny Drop, who designed the logo and artwork, and has released records by The Expansions, Hector Plimmer, Huw Marc Bennett, Pie Eye Collective, Qwalia, Ronin Arkestra.


Early support from Huey Morgan, Amazing Radio specialist playlist, Gideon Coe. Previous support from Gilles Peterson, Mary Anne Hobbs, Jamz Supernova

Two stone cold classics right here from the Roy Ayers masterminded RAMP, taken from the holy grail album Come Into Knowledge. Sampled the world over, influentially positive and as prized as they get, South Street’s new sub-label South Street Soul couldn’t have picked a more perfect double header to reissue as their inaugural release.

Although the RAMP acronym Roy Ayers Music Productions bared Ayers’ name, he did not perform with the Ohio band instead writing, arranging and producing the tracks alongside Edwin Birdsong and also William Allen. Drafting in some of the best session musicians in the game, from vocalists Sibel Thrasher and Sharon Matthews, The Spinners drummer John Manuel, guitarist Landy Shores and Cincinnati bass maestro Nate White, the result was pure ethereal excellence.

Rare groove at its finest ‘Daylight’ is one of the standout cuts from RAMP’s only album - soulful, sumptuous and laced with a celestial touch that takes this track to another realm of conscious. A track that was famously sampled by A Tribe Called Quest for their hit ‘Bonita Applebum’ and J Dilla’s remix of Common – Come Close.

On the B side, a Roy Ayer’s masterpiece 'Everybody Loves The Sunshine' given the RAMP revamp, an end of the night masterpiece, a hazed-out dreamer - just downright blissful grooves from start to finish. Ready-made to ride out into the sunset with.

Fronted by former South London lovers rock vocal harmony group, Alpha (sisters Jackie & Jean Heron and Marlene Richardson), Take Three was the brain-child of writer/producer trio "S.H.E." - Steve Sinclair, Peter Hinds & Kevin Ellis.

Meeting each other at The Factory community centre in Paddington (now known as the Yaa Asantewa centre and in the last few years, The Yaa Centre) Steve & Kevin began a partnership writing and directing their own theatre productions as part of The Black Theatre Co-Op, which called the centre home at the time. When a song they had written together for one of their productions received praise and plaudits, the path toward writing and producing records began, bringing in more seasoned hand Peter Hinds - formerly a member of key brit funk groups Light of the World and Beggar & Co, and player with Incognito, Imagination & Loose Ends - to complete the circle.

Following on from Freestyle's reissue of the group's first single around this time last year, in the form of 1983's Tonight's the Night, we decided to drop another killer 12" from the Take Three vaults - this time it's their last single released as Take Three in 1985. Can't Get Enough (of Your Love) was originally licensed out to, and released by Andy Sojka's seminal Elite label. It features two super extended mixes - the A side's "Soul mix" showcases the girls's harmonies pinned down by a big & heavy synth bass groove before moving into boogie-dub territory, while the B side "Reggae mix" introduces an ofbeat skank heightening the vocal stylings' lovers-esque tendancies.