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This 180 gram red virgin vinyl LP reissue of the 1958 Bluenote album ‘Art Blakey and the Jazz Messengers’ includes bonus tracks recorded live at the Olympia, Paris with the same personnel, also in 1958.
Together with Art Blakey on drums the line-up includes Lee Morgan on trumpet, Benny Golson on tenor saxophone, Bobby Timmons on piano and Jymie Merritt on bass .
The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine.

This reissue of ‘Stan Getz Meets Oscar Peterson’ includes one bonus track from the same session produced by Norman Granz in 1957. With Getz on tenor saxophone and Peterson on piano are guitarist Herb Ellis and bassist Ray Brown.
The specially prepared liner notes are by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “Even though summit meetings don’t always end up with the expected results, this one, on the contrary, marks the blend of one of the most beautiful saxophone sounds in history with the most dazzling bouquets of notes ever imagined on a piano keyboard.” Jazz Magazine

‘Chet Sings’ by the trumpeter and vocalist Chet Baker is a classic of West Coast cool jazz. Recorded between 1953 and 1956 this CD reissue includes 10 bonus tracks and vinyl inludes 2 bonus tracks.
The collective personnel accompanying Baker includes Russ Freeman on piano & celeste; Jimmy Bond, Carson Smith, Joe Mondragon, bass; Peter Littman, Lawrence Marable, Bob Neel, Shelly Manne, drums; among others. The 20-page booklet features complete information and specially prepared liner notes by Penguin
Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine.
SINGS

This reissue of pianist Dave Brubeck’s classic 1959 album ‘Time Out’
features the classic quartet of Brubeck with Paul Desmond on alto sax, Eugene Wright on bass and drummer Joe Morello.
The bonus album is ‘Countdown - Time In Outer Space’ recorded in 1961 by the same line-up. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “Time Out by the Dave Brubeck Quartet has never lost its power of fascination. On these unforgettable tunes, Dave Brubeck and his alter ego Paul Desmond seem to be painting a canvas. Every note is like a touch of colour, expertly distilled, subtly hypnotic, ideally thought. “ Jazz Magazine

This reissue of ‘Louis Armstrong Meets Oscar Peterson’ includes 4 bonus tracks, also recorded in 1957 and produced by Norman Granz and the LP has 2 bonus tracks.
With Armstrong on both vocals and trumpet and Peterson on piano are guitarist Herb Ellis, bassist Ray Brown and drummer Louie Bellson. The-20 page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz
Magazine.

Audiophile reissue of the first RSD release from legendary jazz bassist Ron Carter, the most-recorded jazz bassist in history and member of the second great Miles Davis Quintet (1963 - 1968).
180g double vinyl, gatefold sleeve.
Carter leads his “Foursight” quartet on this live recording from Sweden recorded in November 2018. The group includes drummer Payton Crossley, tenor saxophonist Jimmy Green, the and star pianist Renee Rosnes.
“With us, nobody knows exactly what happens when,” Carter praised the Foursight Quartet’s unique selling point. “This is precisely why every concert is a real challenge. We almost always play 35 to 40 minutes without a stop at the beginning. No breaks, just slight changes that show the beginning of a new song. If we were a classical music band, it would be called a symphony with five movements.
This kind of thing only works with this band!”

Personnel: Ron Carter (bass), Renee Rosnes (piano), Jimmy Greene (tenor saxophone), Payton Crossley (drums)

Houston’s reputation for developing first-class jazz acts is well-established, as a stream of young players have been distinguishing themselves for decades…among those musicians and mentors who stood tallest, Bubbha Thomas was no exception (and a major key-player) in this long tradition of talent.

Before becoming an artist and educator, Bubbha Thomas (born 1937) was a Fourth Ward kid who grew up in a music-filled household. In High School he divided his time between music & basketball (he excelled at both) and studied with jazz legend Conrad “Prof” Johnson. “Prof” would later bring jazz glory to Texas with the Kashmere Stage Band, the group of teenagers who would win the “Best High School Stage Band In The Nation” prize in Mobile, Alabama in 1972 and who were anthologized in 2006 on Now-Again’s ‘Thunder Soul’ (which led to the 2010 Jamie Foxx documentary of the same name).

After finishing college, Bubbha got drafted in the service (he was a Korean War veteran) and would return to Houston in the early 1960s where he found work as a session drummer for the Duke and Peacock labels. Thomas drummed on recordings by O.V. Wright, Buddy Ace and the Mighty Clouds of Joy. He was playing his own stuff and backing luminaries such as R&B singer Chuck Jackson and homegrown legends like Lightnin’ Hopkins. Bubbha Thomas also teamed up with some of his equally legendary peers (like guitarist Melvin Sparks & organist Leon Spencer) and eventually established his own group, the Jazz Merchants.
Bubbha learned every style that was thrown at him and he played straight-ahead jazz with renowned artists before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane and Sun Ra…the result of these new found influences was the incredible spiritual jazz ensemble ‘The Lightmen’, who released four incredible recordings in the 1970s. Their first album ‘Free As You wanna be’ predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East and is a harbinger of some of the best in the 1970s jazz underground. The Lightmen albums eventually fell out of print until 2017 when the Now-Again record label brought them back into circulation and generated new interest in Bubbha Thomas’ work.
Thomas had a storied career as a drummer and bandleader, but perhaps his most enduring work is that as founder of Houston’s Summer Jazz Workshop, a remarkable program that nurtured upcoming talent for generations...we can’t begin to count the number of young people who benefitted from the exposure to music-arts because of Bubbha Thomas and what he meant to the Houston music community. In his career he earned five Grammy nominations and authored a pair of books. Next to this he was also a writer/editor for several local newspapers, ran one of the first Houston African American Television shows and he hosted a radio program on KYOK. Impressive to say the least!

Bubbha Thomas passed away in March 2020 at the age of 82. It was obvious he was a principled, fiery & wise person…and any anger he felt at America’s (and the world’s) injustices he met with music, intellect, activism and unity!

Next to his work with ‘’The Lightmen’’, Bubbha also released the fantastic (solo) album ‘Life & Times’ in 1985. ‘Life & Times’ (which we are proudly presenting you today) is particularly interesting to boogie-enthusiasts because of its high doses of funky twerks, solid grooves, crazy synth work, soulful vocals and excellent drum-beats courtesy of Mr. Thomas himself. You’ll quickly find yourself shaking hips the moment the needle hits the first track! The whole album is backed by a fantastic cast of all-star players and includes Howard Harris (Ruth Copeland), Dwight Sills (Bobby Lyle - TLC), Jerry McPherson (Donna Summer), Leo Polk (Kashmere Stage Band), John Gordon (Strata East) and Jackie Simley (Queen Latifah - Lionel Richie). All of the above makes this LP an essential purchase for any self-respecting fan and collector.

Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally released in 1985 on Lightin’ Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

Abbey Lincoln, often remembered for her seminal work with Max Roach, was a powerful performer and indeed one of the greatest Jazz voices of all time. "Straight Ahead" stands as one her best albums. Lincoln is matched here by a ultra-stellar line up including Jazz masters such as Booker Little — trumpet, Julian Priester — trombone Eric Dolphy — alto saxophone, bass clarinet, flute, Walter Benton and Coleman Hawkins — tenor saxophone, Mal Waldron — piano, Art Davis — bass, Max Roach — drums, Roger Sanders and Robert Whitley — congas. "Straight Ahead" is the perfect combination between Lincoln 's strong "Afro-Blue" tone singing, conscious lyrics and angular modern Jazz arrangements. Recorded in New York in a one-off studio session held on February 22, 1961 and released by Candid Records in the same year, the album includes highlights such as Oscar Brown jr's "When Malindy Sings", Thelonious Monk's "Blue Monk", Billie Holiday and Mal Waldron's "Left Alone" and "African Lady" a Randy Weston composition based on lyrics by the great writer Langston Hughes.

The latest signing to Parisian label No Format! (home to Oumou Sangaré, Blick Bassy and Mélissa Laveaux), Soweto-based 4 piece band Urban Village will release their debut album "Udondolo". Marrying the day-to-day experiences of black South Africans with ebullient elements from traditional Zulu music, Urban Village is the alias of four experimental musicians all born & raised in the township of Soweto at the tail end of apartheid; Urban Village release music under a name which specifically references the blend of cultures, music & rites which were assimilated into the now 1 million strong population of Soweto, when black South Africans from multiple provinces were brought to the area during the establishment of apartheid, under strict segregation from Johannesburg's white suburbs. Born for the most part in the last years of apartheid, whilst growing up the band plunged happily into house and dance music that turned the page of a heavy past. Guitarist Lerato came across older Zulu musicians and their style of maskandi playing. Lerato has since mixed styles from homelands and rural areas, sharpened in club jam sessions (where he went on to meet Tubatsi and form Urban Village) during which spoken word, hip-hop and jazz rub shoulders freely. "Udondolo" - partially recorded at legendary Downtown Studios in the heart of Johannesburg and at Figure of 8 studios in the leafy suburbs of Randburg - is a journey through all the colours of Soweto. This is where it draws its consistency, strength & identity. That of Soweto itself - a dormitory town designed to monitor those who were sent there, it has become a laboratory of music where the hopes of an entire people resonate, even today.

Recorded and produced sometime, somewhere between the back streets of Hackney, Margate and Sydney, this release brings together 4 deep and diverse tracks from UK producer Mike Misiu (previously seen on Razor n Tape and Pleasure Unit among others). It also marks the maiden musical voyage of his new label Heads High.

Opening track 'Darkness Falls' floats a dramatic filtered string section over a driving dub-disco-house beat, spacey synth plucks and euphoric swells.

Track 2 'Cascade' builds on a tumbling synth bass and moody chord stabs with jazzy rhodes, strings and filtered vocals to create an infectious shuffling deep House groove.

On the B side 'For Your Love' is a bubbling psychedelic cauldron of hypnotic synths, piano lines and soulful vocal echoes which come together as a driving electro-discoid-funk jam.

Closing out the E.P. is 'Bala' is an uplifting percussive number with a vibe that transports you to an Afro-cosmic dancefloor beyond the stars.

Thinking about a fox face may give many warm, fuzzy feelings,
but don’t forget that foxes have teeth.While Milwaukee quartet
Fox Face may not bite one’s face, their new album End Of Man
might just melt it off.
Featuring players drawn from various corners of the Brewtown
music scene, Fox Face came together organically ahead of the
recording sessions for their November 2017 debut album, Spoil
+ Destroy. Main songwriter Lindsay DeGroot (The Olives)
started working on her songs with multi-instrumentalist Lydia
Washechek (Static Eyes). Eventually fellow Olives member
Mary Hickey joined up on bass, and the final piece of the band
was found with the addition of drummer Christopher Capelle
(Midwest Beat, Long Line Riders). Spoil + Destroy was one of
the best garage punk albums of 2017-2018, taking on science
deniers, misogynists and other jerks with songs anchored by
fiery guitar playing and rock-solid ensemble playing.
End Of Man bumps up the furious guitar sound of Spoil +
Destroy a few more notches. It’s not hard rock, per se, but the
album’s sound edges in that direction. And one can tell that Fox
Face has been playing together for several years now, because
these recordings are tight AF. There’s no filler or extraneous
padding; the arrangements and playing make for a cohesive
whole, and lyrically the songs are direct and to the point while
still remaining universal enough to be met on personal terms by
the listener.
End Of Man may not be a party record … at least, once letting
the lyrics filter past the lizard brain enjoyment of the blazing
riffs. But art is not supposed to be all fun and games. Standing
up and speaking truth may not be the easiest path for a band or
its listeners, but there is much to be said for catharthis. Anyone
feeling despair and helplessness about the current political and
societal breakdown should find some common ground to rage
along with these new songs from Fox Face.

Trumpet genius Booker Little appeared on many seminal records such as Max Roach's "We insist", Eric Dolphys' "Far Cry" and John Coltrane's "Africa Brass". Recorded in 1960 for the Time label, this is Booker Little's second album as a leader (there would only be four) and a major statement in his too short career. A dynamic and yet relaxed session with Little as the only horn in the band, a fine quartet featuring Winton Kelly or Tommy Flanagan on piano, Scott LaFaro on bass, and Roy Haynes on drums. A highly interactive combo inspired by Little's unique trumpet approach. "Little's immediately recognizable melancholy sound and lyrical style are heard in top form" as Scott Yanow stated in his 4½ stars album review.

SPAZIOTEMPO is proud to present it's fourth release from a legend of the underground, the one and only Miki! The EP is an excursus through Miki's incredible career, proving a full spectrum of his influences.

The opening track is Space Time, an epic progressive ride that is a manifesto of the glorious Tirrenian underground scene. Phosphoros is an hypnotic tool that blends tribal with electronic movements.

B1 is London Irradiation, a groovy cut with dreamy melodies on top of a catchy bassline. The closing track of the EP is Friends in Kampala, a truancy crescendo to fully connect you with your 6th chakra!

When Ajax Tow travels in his Pop Western landscapes, you can be sure there’s always a perfect 70’s road trip soundtrack. Italians cowboys meeting the legendary Miriam Makeba in Rennes suburbs... For his 3rd album The Soul Vegetable Orchestra, Ajax Tow is bringing us on a ten tracks sonic adventure, where many inspirations and references collide. The succession of tracks inspires many feels and moods from sipping a good old bourbon, dance in the kitchen, or gallops though the plains of Napoli.

We can found the influence of Danger Mouse paying hommage to the late Ennio Morricone (Roma, 2011), a cinematic side of Shawn Lee and Misha Panfilov, from music library à la Jean-Claude Vannier to the Band Voilaa, a little glimpse of pimped Ninja tune, a Reworked organic Mo’Wax vibe, all mixed up and spiced up with a Tricky style.

This album is also the result of a collaboration with Dan Voisin (Modul-Club, Eighty…) at the production and drums with Rennes city scene musicians who gives a hand on this album: Romain Baousson (Coupe Colonel, Bikini Machine…) on drums, Sax Machine and Racecar (Saxtoys Records) on horns and vocals, Dj Marrrtin (Funky Bijou, Lord Paramour) on beatmaking, Medline (My Bags) on Flûte.

As a special guest, the late and legendary Miriam Makeba appears on “Magic Miriam”. “Feel it” is definitely setting a west coast on the LP with a Jurassic 5 inspiration, accompanied by a spicy rhythm, MC Racecar (Sax Machine) flows and lyrics brings even more energy to the track. On “Movie” and “Silence”. Ajax Tow give us a nice taste of his favorite psychedelic blends, romantic and intimate at the same time, where we found back Fuzz guitar with 60’s Eric Clapton style (Cream era) and Pink Floyd synths Flavors. The cinematic style and first notes of “So What” reminds Air first EP and the beautiful bass of “Melody Nelson”. For the dessert, “Smallville” is a kind of wedding cake with 70’s loops sprinkling that brings us to Phillipe Sarde’s La Grande Bouffe soundtrack, but with a more contemporary feeling.

William Basinski's reputation as the foremost producer of profound meditations on death and decay has long been established, but on his new album, Lamentations, he transforms operatic tragedy into abyssal beauty. More than any other work since The Disintegration Loops, there is an ominous grief throughout the album, and that sense of loss lingers like an emotional vapor. Captured and constructed from tape loops and studies from Basinski's archives - dating back to 1979 - Lamentations is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space - and their collective resonance is infinite and eternal.

Tibor Szemző returns with a new album, based on the music for his film about historic figure Alexander Csoma.

Tibor Szemző is a Hungarian composer, performer, media artist. Recently his album Snapshots From The Island (1987) gained renewed interest. Over the years Tibor Szemzo continued composing classical / electronic works. His pieces often include spoken texts, film and other media. He creates installations and composes music for his own and others’ films.

Csoma, his new album, is based on the music for this film about Alexander Csoma. Alexander set up to research the origin of the Hungarians 200 years ago. During his student years, before he enrolled in college, he and two fellow students vowed to go to Central Asia to discover the origins of their nation. In the first thirty-five years of his life, he spent his humble pilgrimage in Asia traveling and studying with Buddhist priests in Tibet in isolation, and devoted the remaining eleven years of his life to publishing some of the material he had collected in India.

Now on the 200th anniversary, Szemző’s Cinematic Opera wishes to pay tribute to Alexandar Csoma. Over the course of two vinyl sides classical and acoustic instruments are mixed with angelic voices, spoken word in German, Hungarian & English. Sounding like vintage Tibor Szemzo compositions, vividly performed by the Gordian Knot Company and the Voces Aequales Ensemble.

Growing up in deindustrialized Providence, Rhode Island of the 1970s and 1980s provided NYC-based composer and interdisciplinary artist Gavilán Rayna Russom access to derelict subterranean spaces including the mile-long East Side Rail Tunnel. The tunnel's reverberant darkness would produce distinctive sensory effects and host Russom's formative experiences of interpersonal connectedness, liminality, transgender identity, anti-capitalist desire and state repression.

Secret Passage – an absorbing, memoiristic work by Russom, whose synthesis-based practice fuses information and expression into organic wholes – draws on memories of "unsupervised autonomous zones where I tasted the possibilities of a world without surveillance," as she writes in the liner notes. Inspired by "this beautifully neglected place," the music resounds with ghostlike echoes and raw pulsations.

Russom utilizes synthesizers, field recordings and voice to illustrate hallucinatory revelations of the city's lightless undercarriage. Each track of Secret Passage, originally released as a limited cassette on Voluminous Arts, is dedicated to a friend – entwining personal liberation with collective discovery. The East Side Rail Tunnel has been inaccessible since the 1990s, the result of urban development and gentrification.

Side A is a groovy mid-tempo funk track, with a nice drum break, it throws back to the classic 70s soul & funk 45s collected by hip-hop/funk DJs and producers. Side B is a fast-paced B-Boy sure shot, with hard hitting drums, rolling bass, percussion and live instruments - perfect to rock a hype b-boy battle. The songs are all recorded by live musicians and arranged by Boogs and Shelley Mack. Grab doubles to rock your cyphers, parties and jams. Released on a limited edition 45 vinyl by DNA records, don’t sleep!

Sabaturin is Charles-Émile Beullac (Galerie Stratique, Canada) and Simon Crab (Bourbonese Qualk, United Kingdom). In the spirit of old school tape exchanges that resulted in musical collaborations developed over long periods of time but informed by the infinitely easier processes of the digital age, "Kenemglev" was assembled without the musicians ever meeting.

The title "Kenemglev" means "consensus" in Breton, something which quite naturally had to be achieved between both musicians. The other consensus was a sort of virtual middle ground symbolized by the Breton language, particular to a geographical area (Brittany) that both agreed would stand for a neutral meeting point between their respective native languages and, consequently, cultures. All titles are Breton words and the name Sabaturin ("standing on one feet", "to be off-balance") expresses mainly Charles' excitement: "Simon's bold approach has been some kind of a shock therapy for my music".

The sleeve was designed by Simon Crab, using a Chladni pattern simulation based on specific pitches. Looking like stained glass, it sort of reflects the way the music is presented: although including 9 titles, the album's tracklist flows uninterrupted on each side of the vinyl, semi-mixed, blended.

Detailed electronic ambience, glitches, loops and tiny details are augmented by a sort of signature rhythmic grid we recognize from "My Government Is My Soul"-era Bourbonese Qualk. It never settles into a formula and so the music remains loose, as much Mille Plateaux as classic 80s industrial shortwave-sampling or dub, rolled into one same entity, touching base with the gorgeous glitch dub "Morgouskus". This concludes a gentle and discreet album that doesn't require the validation of being associated with any of the current keywords in the electronic music scene.

fter a small digital break, here is new record from the Comic Sans' vaults. First world appearance for Low Khey with 10 tracks exploring the 90-100 bpm side of experimental bass music. Call it mutant dancehall, deconstructed dub or industrial riddims, it's difficult to describe precisely in which genre the release falls.

Let's just imagine that Vybz Cartels' beats met Adrian Sherwood's punk dub sound design and that the whole thing was supervised by the evil twin of DJ Python. The big space left to the drums and the precise use of robotic sound-effects give a hyper-mechanical aspect to the riddim tracks which are aired by several interludes made of weird FX making it sound like futuristic commercials for spaceships or intergalactic bitcoin exchange.

The whole project has hidden references to artificial intelligence and problems that human are facing regarding the technology. The world in wich Low Khey lives is dominated by machines, and mankind is having a rough time to say the least! But there is hope for our Homo Sapien friend... If only he kept in mind this simple advice : Never. Trust. A. Cyborg.

Early summer 2019, João Lobo started recording his compositions at les Ateliers Claus in Brussels, with guitarist Norberto Lobo, bassist Soet Kempeneer and recording engineer Christophe Albertijn. The recording sessions were planned over the course of one week, however the job was mostly done in just a few takes. With the addition of some overdubs, the whole process was finalised in a spontaneous wave. It is too simplistic to define Joao Lobo’s compositions with one term, and the association of the album “Simorgh” with this ingenious partnership’s new creations, is inevitable.

While the mix of genres and styles may be easy to distinguish, the focus centres on the result of the mixing: a highly grooving and an occasionally paused and introspective music that seems out of time and out of space. It is difficult to grasp or define a specific period in time or a geographic origin in this fusion of references, as what you listen to is a bold creation of original and surprising elements. Drummers – such as João Lobo – employ a multi-layered concept in their music, weaving the different tracks into a linear wash of sound. He plays the song with the drum set while the other members fly in and out of the compositions, always gathering around their phoenix in order to attain enlightenment.

What João Lobo and many of his contemporaries are up to, can be explained through simple terms as a future exploration of the emotionally expressive possibilities of sound. It breaks away from the conventional order providing space for the discovery of a new order. Simultaneously it allows a more profound and broader expression of what the current reality of music is and represents. It was instantly clear for me that we had to share his music with our audience and create this medium for happiness.

This release is the trio’s debut record, which is the impetus for their personal development in the realisation that features João as a mentor in the creation process. The featured compositions highlight the musicians’ unique physical aspect to control their instruments and their hidden techniques that underlying these tracks. The result is an ongoing aural interplay. It was love at first sound.

This album is a co-release between Les Albums Claus and Shhpuma.

Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastureswith an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith” reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.

4 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY.All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have

Fifth part of Machine Funk project. Machine Funk is a twelve vinyl records project created by Cygnus and Alek Stark, the mind behind Fundamental Records, 808 Box, Electric Eclectics and now Electro Records. Machine Funk is based on the classic cyber-punk comic book created by Barry Windsor Smith. Essential electro music full of vocoders and analog machinery, produced by Cygnus!

Picture Vinyl

Sixth part of Machine Funk project. Machine Funk is a twelve vinyl records project created by Cygnus and Alek Stark, the mind behind Fundamental Records, 808 Box, Electric Eclectics and now Electro Records. Machine Funk is based on the classic cyber-punk comic book created by Barry Windsor Smith. Essential electro music full of vocoders and analog machinery, produced by Cygnus!

Legendary Turkish psych innovators Moğollar grace the Artone Studios in Haarlem for a masterclass in the original Anadolu psych roots, cutting a compendium of their rawest hits and most-wanted psychedelic rock classics – including the J.Dilla-sampled ‘Haliç’te Güneşin Batışı’ – for the latest edition of Night Dreamer’s essential Direct-to-Disc series.

In the beginning, there was Moğollar.

Formed at the end of 1967 with five young musicians, Moğollar were the original Anadolu psych originators. They were the first Turkish pop band who tried to blend the microtonal folklore and traditional instruments of rural Anatolia with Western pop and rock; they were the first Turkish psychedelic band to achieve overseas recognition, winning the prestigious French Grand Prix Du Disque in 1971 after a period in Paris; and they coined the very phrase ‘Anadolu Pop’ with their first album release. They were radical, innovative, and hugely popular, and when the great artists of the Turkish rock revolution appeared on the scene, Moğollar were already there – stars including Barış Manço, Selda, Cem Karaca and Ersen all recorded with them or briefly joined the line-up. Moğollar were and are the undisputed pioneers of the style.

More than fifty years after first forming, Moğollar materialised in the Artone Studios to give a masterclass in fuzzed-out folklore and Turkish psychedelic roots for Night Dreamer’s Direct-to-Disc series – a fitting follow-up to Night Dreamer’s BaBa ZuLa set, coming straight from the group who laid the foundations of the genre.

In 1971, having already released numerous singles, they secured an album deal with French label Guild International du Disques. Travelling to Paris that year, they recorded their first major statement, Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui, a set later released in Turkey as Anadolu Pop. The album won a prestigious French award – the Grand Prix du Disque from the L’Académie Charles Cros, an honour that had been won in the past by Jimi Hendrix, Pink Floyd and Soft Machine. Moğollar, and Anadolu psychedelic pop, had arrived on the international scene.

In 1976, after many more releases and line-up changes, and pressured by an increasingly difficult political situation in Turkey, the group dissolved for seventeen years, and various members dispersing to exile in Paris and Berlin. However, after a petition from their fanbase asked them to reform, they agreed to play a comeback concert in 1993. It was a huge success, and reunited, they went on to record some of their greatest work. Led today by original member Cahit Berkay alongside original bass player Taner Öngür, and joined by Cem Karaca’s son Emrah, Moğollar continue to push their uniquely original brand of fuzz-scorched folk-rock and crackling Anadolu psychedelia forward into a new millennium.

For this Night Dreamer session, Moğollar spent two days in the Artone studios, recording sides A and B on the first day, and C and D on day two. With BaBa ZuLa’s Murat Ertel adding contemporary sonic punch behind the boards, the band revisited their most renowned hits to lay down energised new versions, and dusted off some of the most sought-after cuts from their enormous catalogue. The result is a showcase set by a band that are one of true pioneers in global psychedelic rock, and a masterclass in the true roots of the Anadolu psych sound: fuzzed-out, committed, and straight from the source.

Highlights of the set include:
-‘Haliç’te Güneşin Batışı’, an Anadolu psych classic which was first issued as the b-side to the ‘Ternek’ single in 1970, before being recorded again for the Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui LP in 1971. A tense slab of roughneck psychedelia, the final breakdown of the original recording was sampled by none other than J. Dilla for the ‘Intro’ cut on Welcome To Detroit.
-‘Gel Gel’, a 1974 song with head-nodding tempo change, originally featuring Cem Karaca. It is here voiced by his son Emrah Karaca, now a permanent member of Moğollar.
-‘Çığrık’, a 1972 cut which originally appeared on one of Moğollar’s most coveted singles, is a funky psych-rock workout with an unforgettably riff, a ringing guitar motif, and twist of Led Zeppelin.
-‘Düm Tek’, the title track of the bands second full LP (Düm Tek, 1975), a raw psych screamer, laced with hardcore davul drum patterns.
-‘Bi’Sey Yapmali’, first recorded for the 1996 Dört Renk album, became the anthem of huge street protests that took place in Turkey that year after an investigation uncovered a huge network of state, police and mafia corruption.
-‘Dinleyiverin Gari’, a hit from the 1994 come-back album Moğollar 94, addresses a notorious corruption scandal of the era.

It seems that every major jazz artist has a one-off sort of record in their discography, be it with strings, voices, spoken word or - as in this case - a foray into the funkier side of jazz. Charlie Rouse (going here as Charles Rouse) gets his chance on Two Is One, a funky soul jazz excursion on Strata-East, the artist-run label where creativity and pushing boundaries was at the forefront. Playing mostly with a group of session musicians, Rouse put together an album that may stray a bit from his hard bop roots, but is nonetheless an enjoyable and at times inventive record. The style of music played here - sophisticated soul jazz with some post bop and spiritual jazz thrown in for good measure - is very much a product of it's time. 1974 saw a whole slew of artists stretching the boundaries of what jazz music could be, combining elements from the past two decades into electric jazz adventures. The piano-less group that Rouse put together is a funky one, with lots of rhythmic playing behind either the searching solos of Rouse on the tenor or some inventive electric guitar work from either George Davis or Paul Metzke who appear together on all but a couple of tracks. Cal Scott gets plenty of time to shine throughout on what sounds like an electrified cello, an unusual instrument for modern jazz to be sure, but one that manages to fit in just fine here.

The first side of the album is all slow burning soul jazz, highlighted by the opening track "Bitchin'" where Rouse shows off that he is more than capable of setting down soulful lines over a funky backbeat. The second side is where the group gets a whole lot more inventive, particularly on the title track where they mix some post bop madness with the soul jazz sound. "Two Is One" features different tempos throughout: in the "first section" the bass plays in 9/8 time, the drums in 6/8 time and the cello and tenor are in 3/4 time. For the "second section" the rhythm section switches to 7/8 time while cello and tenor move to 4/4 time. Stanley Clarke is on bass here and his deep and twisty electric bass line is placed prominently up front.

"Two Is One" is certainly the highlight of the album from a pure jazz standpoint, and it lives up to it's title, which according to Gene Lewis' liner notes is taken from a Thelonious Monk phrase meaning two people so in tune with one another that they become one. The album finishes off with "In His Presence Searching," a spiritually informed jazz number that is reminiscent of the work being done during this period by the likes of Pharoah Sanders and Gary Bartz, (while not being quite as out there as their best work). The tune is all rhythmic glory, with Rouse and Scott playing introspective and penetrating solos throughout. It's a nice album closer, and a good reminder that while Two Is One may be best known for it's funkier excursions, Rouse had a few tricks up his sleeve and the album, when taken as a whole, is a complete statement from a legendary jazz musician.

ACCEPT ARE BACK! The German kingpins of heavy metal will release their new, eagerly-awaited studio album via Nu- clear Blast on January 15th 2021. The ingenious title of the masterpiece is “Too Mean To Die”.
Speaking of heavy metal kingpins, when ACCEPT first launched at the end of the 70s, the metal genre didn’t even exist - at first the band could only be labelled with the (quality) seal “crazy loud and crazy wild”. Today we know that this was (and is) metal par excellence. And we also know that ACCEPT opened the door to thrash metal, inspiring giants such as Metallica. Guitarist Kirk Hammett recently stated in the German magazine “Gitarre & Bass”: “Wolf Hoffmann has a huge influence on me.“
ACCEPT, who once had their origins in the city of Solingen, a city of sound, have been a worldwide music phenomenon for more than 40 years. They still impress with razor-sharp guitar licks and a steel-hard sound. The band created all-time metal classics like “Balls To The Wall”, “Metal Heart” and many more.
Countless world tours and headline slots at the biggest, cutting-edge festivals cemented the band’s reputation as one of the best, hottest and loudest live acts ever. In addition, the band has sold millions of records, has achieved gold status in the USA, top 10 chart positions worldwide and a number 1 album (Germany, Finland) for “Blind Rage” (2014).
Now with “Too Mean To Die” their 16th studio album is in the starting blocks - it is the fifth album that US vocalist and front man Mark Tornillo has put his incomparable vocal stamp on.Recorded in the world music capital of Nashville (USA), ACCEPT’s music was once again produced by British master producer Andy Sneap, who is responsible for the mix. Sneap, who works for Judas Priest and Megadeth among others, has also been responsible for all ACCEPT productions since 2010.
Special circumstances often lead to very special albums. This is certainly true for “Too Mean To Die”, which of course alludes to the Corona period, although in a different way than one might assume. Hoffmann says: “Its to be expected that many musicians will address the Corona situation in their songs. There will certainly be slogans for cohesion, through which positive vibes should be spread, which is also good. But we have decided to not let ourselves be influenced by it. The fans will get a hard, direct and uncompromising metal album, but of course accompanied with a wink: We are too mean to die! Weeds do not go away! ACCEPT do not let themselves get down!”
Wolf isn’t wrong - the title track is a classic Accept cracker: dynamic and unwavering, turned up to eleven!
Zombie Apocalypse’, also relentless and hard, strikes the same note in the band’s signature style.
The first single - which will be released on October 2nd 2020 together with a remarkable video - is different. Titled ‘The Undertaker’, its a terrific midtempo number with great vocals and a built-in character that chugs along – certain to deliver some mermorable live moments! According to Wolf Hoffmann its one of the most catchy, pleasing pieces of the album.
New to the band, and thus to be heard for the first time on an ACCEPT album, is Philip Shouse (Gene Simmons Band, among others). The US guitarist fights hot duels with Hoffmann, while Uwe Lulis makes the guitar trio perfect and pro- vides the right rhythm. “Phil was part of our orchestra project and was also completely convincing live. We recognised his great talent immediately and simply didn’t let him go,” explains Hoffmann.
Just how varied the ACCEPT guitar trio performs on the new album is proven by one of the secret highlights: ‘The Best Is Yet To Come’ – a beguiling ballad in which Mark Tornillo is at his best. The metal world knows that Mark can scream like no other, but here it shows once again that the frontman can also sing magnificently. “Mark sang this, for us rather unusual song stunningly well. The fantastic thing about Mark is that he not only masters the typical metal screams, but can also sing melodically and beautifully. He proves this impressively in this song”, chief guitarist Hoffmann raves.
In addition, ACCEPT have strengthened their team even further with newcomers Martin Motnik (bass) and Philip Shouse (guitar), thus forming an unbeatable team together with “Drum God” Christopher Williams and “Rhythm Mas- ter” Uwe Lulis.
There’s no doubt that with “Too Mean To Die” Accept are once again playing at the top of the Champions League of the genre. Wolf Hoffmann & Co. present the (music) world eleven masterpieces at the beginning of 2021 - eleven songs for eternity!

Collabs between Dominik Marz and Yannick Labbé have been dropping regularly since months now. The guys’ associative approach to techno is a quirky mix of grit and grace that aims for greatness. Their new release on Feines Tier is no exception: the three tracks are an invitation to lose oneself in textures, sounds, melodies – all wrapped up in loop-based arrangements. As a bonus, DC Salas delivers a remix that injects a proper dose of techno and turns the track „meaning“ into a peaktime rocker that, well, how should we put it… bangs. A lot. Try it out on your COVID home-dancefloor!

The first release on sister label of SN Variations, Constructive is the music for the third and final season of Tin Star,Tin Star Liverpool starring Tim Roth, Genevieve O'Reilly and Abigail Lawrie. Released on digital and in a limited edition of 300 neon yellow vinyl.Performed by Orchestrate (Mica Levi,Bobby Krilc) and with field recordings by Chris Watson.

Southern Lord announce Crush The Machine, the debut EP from West Coast hardcore punk collective D.E.A (Dead End America), formed by the late, great Steve "Thee Slayer Hippy" Hanford of Poison Idea, with current and former members of Queens Of The Stone Age, Eyehategod, The Accüsed A.D, World Of Lies, Ape Machine, and more.

Captured before Hanford’s passing earlier this year, D.E.A's debut shall be released on 7" and digital EP on 30th October (Non-Returnable) Recording details, liner notes from Mark Lanegan and more info below.

Crush The Machine sees the primary writers, drummer/vocalist Steve Hanford and guitarist Tony Avila (World of Lies, Why Won't You Die, Aborted Cop, Here's Your Warning) joined by lead guitarist Ian Watts (Ape Machine, Minmae) and bassist/vocalist Nick "Rex Everything" Oliveri (Mondo Generator, The Dwarves, ex-Kyuss, ex-Queens Of The Stone Age), with additional lyrics and vocals from Mike IX Williams (Eyehategod, Corrections House, Outlaw Order) and Blaine Cook (The Accüsed A.D, The Fartz, Toe Tag).

"A perfectly appropriate title for this 7 inch EP of jack-hammering, oldschool style hardcore tunes released by Southern Lord, written and played by a rogues gallery of real deal music lifers as a condemnation of the criminal Trump administration and republican party, in the same spirit of those by-gone days when Ronald Reagan or George Bush was the crooked, self-serving president of the crumbling United States empire. Never before has there been a more obvious target, as Donald Trump and his mafia family cabinet rape the country while Rome burns. D.E.A. is Tony Avila, Ian Watts, Nick Oliveri, Mike IX, Blaine Cook and the legendary and beloved, late producer and drummer of Poison Idea, Steve "Thee Slayer Hippy" Hanford. Dying shortly before the completion of this record, it stands as a final testament to his genius, one last hot-wired blast of his epic musical brilliance."

Mark Lanegan
Los Angeles
August, 2020

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

An amazing session of spiritual soul jazz – and one of the rarest albums on Strata East! Shamek Farrah's soulful alto is matched with the free spiritual piano of Sonelius Smith, for a totally memorable session that virtually defines the essence of the Strata East sound! The music is free, but not too free; lyrical, but never indulgent; and always turning over with a fresh sense of imagination, and a soaring groove that's very much in the classic Strata East mode!

On to my short review. I have to admit that I'm biased in favour of Charles Tolliver. He plays with a combination of strength and sweetness that goes beyond mere language. The fact that he is self -taught is more miraculous. This particular recording has the best sound quality I've ever heard. The clarity is stunning and all the music is magnificent. The recording is so good, one can hear the sound of a musician's fingertips accidentally brushing across the bass strings, for example. Alvin Queen is always brilliant on the drums. This group has a synergy that just goes so deep, it feels like they're reading each others' minds. But I can't recommend this enough. It's some of the best recorded jazz I've ever experienced.

arbitrary presents the 2020 remaster & vinyl reissue of PM016 by Danish musician Mads Emil Nielsen, re-mastered and cut by Kassian Troyer, with cover artwork by visual artist Dane Patterson.

Originally released as limited edition C30 tape on Plant Migration Records in 2014, the four pieces on Nielsen’s first solo release are based on short orchestral and percussive samples manipulated by various synthesizer modules and effects processors. Variations are created by emphasizing different frequencies, harmonics, sections of short loops and the various surprises that result from the idiosyncrasies of each machine.

This vinyl reissue is part of the Black Box series of releases with music & audio originally made for theatre pieces, performances, installations, radio soundtracks, compilations and remix collaborations. The series showcases a more melodic side of Mads Emil Nielsen’s work, who, during recent years, has been focused on more abstract electronic/acoustic material – such as his collaboration with Andrea Neumann and Framework series (graphic scores & recordings).

Written & produced by Mads Emil Nielsen, Copenhagen, 2013. Originally released as limited edition C30 tape on Plant Migration Records (US), 2014.

* A welcome reissue of Jah Warrior’s 1997 album `Dub From the Heart’.
* A venture into raw dub-wise territory with samples galore and weighty bass-lines built for sound system.
* Produced by Jah Warrior and mixed by Dougie Wardrop from Conscious Sounds studio,
* Limited to 500 copies only.

Bright Sounds welcomes BLUNT. The new musical project by Paris based graffiti artist and creative Vincent Desmont where he connects the dots between his musical outings and his visual works.

Over the course of four tracks he delivers a lively package of warm and driven dubtechno. It's a complete and well rounded debut on the ever reliable and fresh Bright Sounds imprint.

Here is a brand new single from the Radikal Guru's 4th studio album 'Beyond The Borders'. 'Do The Right Thing' features italian vocalist Marina P mainly known for her previous works with Mungo's Hi Fi. Her soulful lyrics are touching on social struggles that we are facing today in our communities. On the musical side Radikal Guru comes with meditative basslines, melodic patterns and arrays of echo chambers and 808's. Backed by two roots style vinyl exclusive remixes made by the Guru himself.

While on lockdown, Senbeï exchanged a lot with his fans on social networks, offering them a collaborative project. From these discussions a dedicated Facebook group has been created on which his fans proposed ideas, arrangements and instrumental interpretations.

So many possible inspirations that allowed Senbeï to then play the conductor, composing new titles based on these exchanges.

The fans were also invited to propose titles for the album and graphic proposals ... TOITSU - unification in Japanese - as well as the work of Adrien Waterlot (a fan) were chosen by the members, to represent this work common.

SENBEÏ talks about it:

This project was launched during the 2020 lockdown. Like a lot of people, I found myself stuck at home, no more work, no more touring. I wanted to take the opportunity to launch a collaborative project by appealing to my fans via social networks. At first, I just imagined doing a song, picking from their ideas, a sample here, a guitar take there. I didn't think it would take on this magnitude. We quickly reached more than 500 people on a dedicated discussion group. And then it all got wrapped up. 4 months later, Toitsu was complete.

It wasn't just music, but also incredible general goodwill, good mood, lots of support, sharing, dedication and humor. All of that helped me orchestrate this happy mess in record time.

"Toitsu" means "Unification". Without those who participated, this album would not exist.