Cerca:be 2

Anything goes, everything is OK,’ is New Cool Collective’s free and easy creed. These eight jazz players are continually reinventing themselves, finding new inspiration and inspiring others. Brilliant as ever under a new spotlight, New Cool Collective excels on their 25th album Everything is OK, released by Dox Records this autumn on 25 October 2024.

Earlier this year, the band celebrated its thirtieth anniversary with a pocket-sized ode to their prolific past: 30 Years Live. Having played and partied, the group turned their attention to the future: what next for an ensemble that thrives on musical experiment and collaboration? Where to now? Which way to go to rekindle that creative spark and foster that flame?

New Cool Collective has met the challenge head-on, determined to surprise their audience, and themselves too. They spent a little time reflecting, considering suggestions, weighing up options – eight creative artists exploring, coalescing. Soon their ideas gelled into something special. They laid down a series of tracks that both build on the band’s thirty-year history and feed on a newfound freedom to simply be New Cool Collective. Everything is OK embodies that sense of a group which knows how to surpass expectations, to make music from the heart, to go back to their roots, back to the essence of those early years.

Anything goes, everything is okay on a record that features extensive brass arrangements and orchestral elements. There’s something magnificent about those seductively intimate tracks, something way beyond the traditional orchestral big band sound. New Cool love to experiment with alternative production techniques, developing the final mix themselves to create a unique, unmistakably recognizable sound – however surprising or unusual the music, you know you’re listening to New Cool Collective – like you’re there and the band is playing just for you.

Everything is OK is brimming with ideas, surprise and humour. The music is contemplative, yet it also leads straight to the dance floor: it gets you moving – body and soul. This is music for the intellect, to take you out of your comfort zone and to show you subtly, ironically: is everything really ok?

Sardinia-based heavy psych and power stoner
rockers Bentrees’ sound is a vibrant mix of fuzzy
power blues and hard rock influences, drawing
from the 70’s and wrapped in the glory of 90’s and
early 2000’s stoner rock.
 Bentrees create a wild ride of addictive and heavy
riffage into psychedelic wonderlands. They have
been continuously looking for an authentic and
genuine formula, often represented by
introspective lyrics - a reference to their homeland
and connection with nature.
 Following the band’s 2017-debut, ‘Psychollage’,
and countless live shows with acts such as
Yawning Man, Black Rainbows, The Cosmic Dead
and The Spacelords, Bentrees are now ready with
their new opus, ‘Two Of Swords’.
 For fans of Lowrider, Celestial Season, Atomic
Vulture, Kyuss, Nebula, Spirit Caravan, Monster
Magnet, Acrimony, King Buffalo.
 LP pressed on blue vinyl.

JVB released their self-written, self-produced, self-mixed and mastered sophomore album – No Hands – which debuted in the Top 10 on Spotify’s Top US Album’s Chart. The critically-and-fan-acclaimed collection of genre-bending tracks are their most impressive work to date and feature appearances by Danny Brown, Terror Reid and Z-Trip.

Direct follow up to OKC noise rock band’s 2022’s breakthrough album God’s Country. Mixed by Benjamin Green (Uniform, Portrayal of Guilt, Drab Majesty). Mastered by Matt Coloton (The Rolling Stones, Blur, Nick Cave, Sunn O)). Full US tour in 2024, EU early 2025, with more dates to come. Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

Rome’s very own Electro-Psych outfit, Big Mountain County, is set to release their third LP ‘Deep Drives’ on November 29th via Sister 9 Recordings. After unveiling their latest EP, ‘Klaus’, at the New Colossus Festival in New York and SXSW in Austin, the band took a year-long studio break, honing and redefining a distinctive sound that bridges primitive Garage Rock and Neopsychedelia with Electroclash, Kraut and Disco. Stay tuned for updates as we’ll reveal more details and the release date in the coming weeks. Big Mountain County was formed in Rome in 2013 after four southern boys, two from the slopes of Mount Etna and two from the Adriatic Coast, came together. They instantly bonded over their mutual love for The Stooges, MC5, The Velvet Underground, and Joe Spencer, leading to the release of a 7-inch record brimming with raw Garage Rock & Roll. This debut propelled them into an exciting tour across Eastern Europe, hitting countries such as Hungary, Serbia, Croatia, and Bosnia-Herzegovina. They soon moved beyond Garage Rock to immerse themselves in the European Neopsychedelic resurgence and spent the following years carving out a reputation in the vibrant continental live scene. They dropped two LPs—Breaking Sound (Gas Vintage Records, 2015) and Somewhere Else (Porto Records, 2020)—along with two live albums. After relentlessly touring across Europe and the UK and opening the Italian tour for the U.S. band Cloud Nothings in 2019, they finally hit the US in 2023, gracing six different venues at SXSW and sharing stages with Osees and Os Mutantes. By the time they returned to Italy, they had secured summer opening slots for the likes of Brian Jonestown Massacre and La Femme. That year’s EP ‘Klaus’ marked a bold new chapter, showcasing a thrilling shift, diving into a more dance-driven and electronic sound. Featuring collaborations with electronic psych producer and LEVITATION DJ in residence Al Lover, along with the distinguished Roman producer Hugo Sanchez, the making of ‘Klaus’ provided the band with a revitalizing spark, steering them into a new musical direction

NYC duo Straw Man Army return with their third LP, “Earthworks”, to complete a trilogy of records begun with 2020’s “Age of Exile,” and 2022’s “SOS”. Whereas “Age of Exile” dealt with the haunted landscapes of colonial history in the Americas, and “SOS” gave voice to a crisis of the present moment, like a prayer in bewildering times, 2024’s “Earthworks” signals the band’s attempt to close this trilogy by turning their gaze towards the future, where paradox, complexity and contradiction spiral in ascendance to an agonizing pitch. While continuing to develop their own style of anarcho-punk, “Earthworks” finds the band pulling once again from jazz and ambient influences, expanded Krautrock rhythms, and post-rock experiments, with a stronger emphasis on melodic vocals and varied song structures than on previous offerings. Taking cues from the wistful anti-war harmonies of The Byrds and the angry melodies of Zounds, tracks like “Turn the Wheel” and “Second Nature” mark new territory for a group whose messages and methods of experimentation have merged to form a singular sound equally at home on All the Madmen Records or in the spiritual legacy of ESP Disk. “Earthworks” is an album that holds and subverts many contradictions—juggling the weight of melancholy, grief, guilt, impunity, and the yearning for clarity against the backdrop of boiling wrath; the wrath of nature, the occupied, the dispossessed, and of the mind against itself. To quote the track “Spiral” — “Is this all that’s left for us these days? / Apathy and rage?”— Straw Man Army offers this record as a companion to our frustration, our sickness, our despair, and a lifeline for our fugitive attention in the struggle for peace.

Second EP from Bristol indie pop six-piece, Hamburger. ‘Beat Back The Ghouls’ sees the band take their sound in a more lush, subtle and layered direction, developing skilfully on the raw songwriting ability offered in their debut. On this record Hamburger create a more complex and sophisticated sound, flitting masterfully between driven guitar hooks, emotive lilting melodies, singalong angst-fuelled hits, and warm dreamy fuzz. ‘Beat Back The Ghouls’ is a record packed with songwriting craft. Each track is a finely-tuned pop song, with catchiness, beautiful melodic turns and delicate harmonic progressions at its heart. The soft, layered vocals add a wonderful contrast to the distorted, driven guitars, as they explore themes such as longing, want and alienation. If you’ve heard Hamburger before, ‘Beat Back the Ghouls’ will mark a new, more refined experience, a band finding itself fully-grown. If you haven’t heard them before, this record is an opportunity not to be missed. Limited to 300 copies on black vinyl.

Airelle Besson, the French multi-award-wining jazz trumpeter, has been lighting up the European jazz scene for several years at the head of her quartet, duo with virtuoso accordionist Lionel Suarez, and the Besson/Sternal/Burgwinkle trio, featured here on 'Surprise!'.

A production without the inclusion of a bass player, the combination of trumpet, piano, and drums is both unusual and intriguing. The result is totally refreshing and provides a new dynamic to the jazz trio format. Featuring ten original compositions, five apiece from Besson and pianist Sternal.

As a much sought-after side-musician, and composer/arranger for the band Metronomy and the Orchestre National de Lyon, Airelle Besson has performed with Charlie Haden and Carla Bley, Michel Portal, Manu Katche, Philip Catherine, Billy Hart, Rhoda Scott, Daniel Humair, Henri Texier, Tom Harrell, Avishai Cohen, Greg Hutchinson, Jose James, and may others.

Airelle Besson: trumpet
Sebastian Sternal: piano, Fender Rhodes, FX pedals
Jonas Burgwinkel: drums

Recorded & mixed by Christian Heck at Loft Studios, Cologne, Germany.

Atemberaubende Energie und traditionsreicher Folk, gehüllt in ein modernes Punkgewand, ergeben eine einzigartige Bandsymbiose, die sich von der ersten Sekunde an auf"s Publikum überträgt: Irish Folk Punk eben. Die siebenköpfige Band aus Gevelsberg exportiert seit 2011 die leidenschaftliche Liebe zur irischen Musik in die Welt. Mit ihrem Irish Folk Punk liefern The O"Reillys and the Paddyhats einen außergewöhnlichen Bandsound, der überall für perfekte Stimmung sorgt. Ob Clubshow oder Festival - eine Riesenparty ist garantiert. Ihre Reichweite spricht dabei für sich: In ganz Europa bringt die Band ihre Show vor einem begeisterten Publikum auf die Bühne! Und das spiegelt sich auch in dem neuen Album "Wake The Rebels" wieder. "Wake the Rebels" entfacht das Feuer der Unabhängigkeit und ist eine kraftvolle Mischung aus berauschendem Sound und unerschrockenem Geist. "Wake the Rebels" stellt für die Band einen musikalischen Ausbruch aus der Routine und einen Aufruf dar, die Stimmen zu erheben. Mit der kraftvollen Botschaft ist das Album ein echter "Wach-Macher". "Wake the Rebels" ist nicht nur eine musikalische Veröffentlichung, sondern auch ein Statement, das die Dringlichkeit des Wandels und die Bedeutung, für seine Überzeugungen einzustehen, unterstreicht.

Atemberaubende Energie und traditionsreicher Folk, gehüllt in ein modernes Punkgewand, ergeben eine einzigartige Bandsymbiose, die sich von der ersten Sekunde an auf"s Publikum überträgt: Irish Folk Punk eben. Die siebenköpfige Band aus Gevelsberg exportiert seit 2011 die leidenschaftliche Liebe zur irischen Musik in die Welt. Mit ihrem Irish Folk Punk liefern The O"Reillys and the Paddyhats einen außergewöhnlichen Bandsound, der überall für perfekte Stimmung sorgt. Ob Clubshow oder Festival - eine Riesenparty ist garantiert. Ihre Reichweite spricht dabei für sich: In ganz Europa bringt die Band ihre Show vor einem begeisterten Publikum auf die Bühne! Und das spiegelt sich auch in dem neuen Album "Wake The Rebels" wieder. "Wake the Rebels" entfacht das Feuer der Unabhängigkeit und ist eine kraftvolle Mischung aus berauschendem Sound und unerschrockenem Geist. "Wake the Rebels" stellt für die Band einen musikalischen Ausbruch aus der Routine und einen Aufruf dar, die Stimmen zu erheben. Mit der kraftvollen Botschaft ist das Album ein echter "Wach-Macher". "Wake the Rebels" ist nicht nur eine musikalische Veröffentlichung, sondern auch ein Statement, das die Dringlichkeit des Wandels und die Bedeutung, für seine Überzeugungen einzustehen, unterstreicht.

Atemberaubende Energie und traditionsreicher Folk, gehüllt in ein modernes Punkgewand, ergeben eine einzigartige Bandsymbiose, die sich von der ersten Sekunde an auf"s Publikum überträgt: Irish Folk Punk eben. Die siebenköpfige Band aus Gevelsberg exportiert seit 2011 die leidenschaftliche Liebe zur irischen Musik in die Welt. Mit ihrem Irish Folk Punk liefern The O"Reillys and the Paddyhats einen außergewöhnlichen Bandsound, der überall für perfekte Stimmung sorgt. Ob Clubshow oder Festival - eine Riesenparty ist garantiert. Ihre Reichweite spricht dabei für sich: In ganz Europa bringt die Band ihre Show vor einem begeisterten Publikum auf die Bühne! Und das spiegelt sich auch in dem neuen Album "Wake The Rebels" wieder. "Wake the Rebels" entfacht das Feuer der Unabhängigkeit und ist eine kraftvolle Mischung aus berauschendem Sound und unerschrockenem Geist. "Wake the Rebels" stellt für die Band einen musikalischen Ausbruch aus der Routine und einen Aufruf dar, die Stimmen zu erheben. Mit der kraftvollen Botschaft ist das Album ein echter "Wach-Macher". "Wake the Rebels" ist nicht nur eine musikalische Veröffentlichung, sondern auch ein Statement, das die Dringlichkeit des Wandels und die Bedeutung, für seine Überzeugungen einzustehen, unterstreicht.

Workout features a mix of original compositions and jazz standards, highlighting Mobley's ability to blend sophisticated harmonies with rhythmic complexity and received critical acclaim upon release and is regarded as one of Mobley's finest works

The album has been praised for its engaging arrangements and the strong interplay between the musicians, the tracks often feature rhythmic grooves and vibrant solos, which became characteristic of the hard bop movement. Released in 1962, it is considered a classic in the jazz genre, particularly within the hard bop substyle and it's often recommended for both jazz enthusiasts and newcomers to the genre and showcases Hank Mobley's lyrical approach to the saxophone and is frequently included in lists of essential jazz albums. The album continues to influence contemporary jazz musicians celebrated for its artistry and innovation, making it a significant contribution to the jazz landscape of the 1960s. So Workout stands as a significant milestone in jazz history, exemplifying the creativity and musicianship of its time: with its engaging compositions and stellar performances, the album remains a beloved classic, inviting listeners to explore the depth and beauty of hard bop jazz, a treasure that continues to resonate within the jazz community.

Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one.

In 1968 Jazz Sabbath were an instant hit on the UK jazz scene. It wasn’t long until they were offered a record deal. They spent weeks in the studio recording the tracks that got the heaviest reactions at their shows until they captured their live energy on tape. Unfortunately, the label manager told them the album was far too experimental and there was no hit potential. Ordered to play some of their ‘easier’ tracks instead, they reluctantly gave in.

The 2 albums that followed still are classics in their own right, but they were not mistaken in thinking they had recorded their best work in 1968. Like the tracks from their 2 albums, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong.

With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.

This album is often recommended for fans of modern jazz and is considered a notable addition to the discography of Lee Konitz and Jimmy Giuffre

It exemplifies the ethos of jazz as a medium for exploration and innovation, with a focus on personal expression and artistic dialogue. Released in 1959, featuring two influential figures in the genre this album captures a significant moment in jazz history, showcasing a unique collaboration that emphasizes improvisation and melodic exploration. In the late 1950s, jazz was undergoing significant transformations, with movements such as cool jazz, hard bop, and avantgarde emerging. Lee Konitz and Jimmy Giuffre were both pivotal figures in the cool jazz scene, and their collaboration was a meeting of two innovative minds. Known for his smooth tone and lyrical improvisation, Konitz was influenced by the bebop movement and studied under legendary figures like Lennie Tristano. He often pushed the boundaries of traditional jazz through his emphasis on melody and harmony. Jimmy Giuffre was notable for his unique approach to composition and improvisation, often incorporating elements of classical music and folk traditions. He was a key figure in the West Coast jazz scene and known for his use of space and silence in music. The album features a mix of standards and original compositions, highlighting the artists' ability to reinterpret familiar melodies with Giuffre's arrangements often incorporate complex harmonies, while Konitz's playing brings a sense of lyricism and warmth: an essential listen for fans of jazz.

THE CLASSIC 1990 ALBUM REISSUED & REMASTERED BY ED WYNNE ON COLOURED VINYL FOR FIRST TIME ON KSCOPE

One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It’s an open exploration of music and the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock and roll life. The band has flourished through a number of line-up changes, spawned several side projects, created their own record label, scored a hit record and sold over a million albums world-wide. And yet, the basic motivation behind the band’s existence has never wavered.

Their signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboard and midi samplers, and super-groovy bass and drum rhythms continues to delight fans across the world to this day.

Erpland, the band’s 1990 eighth release, is considered one of their finest works. This 2LP set presented in wide spine packaging, will be released on turquoise heavyweight vinyl as the third title in t

Upon its release, Big Band Bossa Nova by the renowned American music producer, conductor, arranger, and composer Quincy Jones, released in 1962 received favorable reviews from critics, who praised its innovative arrangements and the seamless integration of bossa nova into big band jazz

It was noted for its lively and fresh sound, appealing to both jazz enthusiasts and fans of Latin music. Over the years, the album has been recognized as a classic in the realms of both jazz and Latin music. It continues to influence musicians who seek to explore the fusion of different genres. The album played a crucial role in popularizing bossa nova in the United States, introducing many listeners to Brazilian music. It paved the way for future collaborations and crossover projects between jazz and Latin music. It is often cited by contemporary artists and arrangers who are inspired by its innovative blend of styles. Its influence can be seen in various genres, including jazz, pop, and world music and is a testament to Jones's ability to adapt and innovate throughout his career. It solidified his status as a pioneer in the music industry, influencing countless artists across genres and generations. Big Band Bossa Nova not only captures the essence of its time but also continues to resonate with audiences today, highlighting the enduring appeal of both big band features contributions from several talented musicians.

Kevin Parrot, Brian McGladdery, Roger Tweedale, Gary McDougall and Tony Bamforth formed Samsun at the beginning of 1969. After several tours abroad they came to the attention of Geoff Gill (ex-The Smoke), Wil Malone (ex-Orange Bicycle) and Cliff Wade (ex-Fickle Pickle). They spent a week at Morgan Studios recording an entire album but only three songs were released for the Dutch and UK markets. A few years later, the band rebranded as Oscar.

Buried until now in the vaults, Samsun's self titled album finally emerges blinking into the daylight a mere 52 years after it was recorded to provide yet another missing piece of the seemingly forever incomplete Morgan jigsaw. Taken from the original master-tapes, it provides yet more evidence that, during a five-year period in the late Sixties/early Seventies, the in-house Morgan team was as productive as any similar-sized British pop collective. Available on both vinyl and CD with comprehensive sleeve notes.

Brilliant Corners is an exceptional example of Monk's distinctive approach to jazz, which was characterized by angular melodies, unusual chord progressions, complex rhythms, and an idiosyncratic sense of timing

The title track, "Brilliant Corners," for example, was so intricate that it took multiple takes to complete, and the musicians found it challenging to follow its unconventional structure. This difficulty speaks to Monk's originality and his pushing the boundaries of what jazz could be at the time. The LP is one of Thelonious Monk's most acclaimed and influential albums, recorded in 1956 and released in 1957. It stands as a cornerstone in Monk's discography, showcasing his innovative approach to jazz composition and performance, and is often regarded as one of his finest works. Upon its release, Brilliant Corners was met with widespread critical acclaim and remains a significant album in jazz history and helped solidify Monk's status as one of the great innovators of modern jazz. It was a breakthrough album for Monk commercially as well, attracting attention from jazz critics and listeners who were beginning to appreciate his genius more widely. Today, Brilliant Corners is considered an essential jazz record, often cited as one of the greatest jazz albums of all time: musicians like Ornette Coleman, Cecil Taylor, and Eric Dolphy were influenced by Monk's ability to push the boundaries of jazz without losing its essence. The album is not just a masterwork in Thelonious Monk's discography but a pivotal moment in the evolution of modern jazz.

Released in 1956 this album is a compilation of recordings from different sessions held between 1953 and 1954

Thelonious Monk and Sonny Rollins were both giants of jazz, each known for their individual approaches. Monk, with his unorthodox approach to rhythm and harmony, was one of jazz's most original composers and pianists. Rollins, one of the greatest saxophonists in jazz history, was known for his inventive and bold improvisations. Thelonious Monk was still establishing his reputation during this time. Though considered a genius by some, Monk's highly original style, marked by dissonant harmonies, abrupt rhythmic shifts, and a percussive attack on the piano, was still divisive among critics and audiences in the early '50s. It wasn't until later in the decade, when he started working with Columbia Records and gained wider recognition, that he achieved broader commercial success. Sonny Rollins, though younger, was already a notable figure in the jazz scene by this point, having played with Miles Davis, Charlie Parker, and Bud Powell. He was known for his inventive and bold improvisational style. In these recordings, Rollins was solidifying his status as one of the major voices on tenor saxophone. The album shows both musicians in their prime, experimenting with harmonies and extended forms. Even though the sessions were recorded at different times, there is a strong synergy between them, particularly in how Monk's percussive piano style complements Rollins' flowing saxophone. A record that captures a moment in jazz history, a testament to the artistic brilliance of both musicians and a significant piece of jazz history, blending the freewheeling spirit of jam sessions with complex, forwardthinking compositions.

Agitator is a band that evokes strong emotions. Euphoric acclaim for debut album 'Jag trivs bäst där du är', released earlier this year, drew its energy from the band's ferocious sincerity and pedal to the metal-mentality. The influences from classic post-punk, techno and the noisy guitar scene of the 90s became in Agitator's interpretation something that felt more now than anything. Audiences flocked to the band's gigs, all over the country. Already in the same year, their second album "Vänner för evigt" is released, a monumental work of howling post-punk guitars and synths. In the Agitator's world, the cold, hard and the soft meet, embracing without collision.

"From the ashes of Linköping’s pioneering punk band, Tings of London, IQ 55 emerged onto the scene in 1978. Their compelling performances quickly made them the most sought-after band in their hometown. In 1979, IQ 55 recorded their first and only single, ”Livet Är En Bluff (Balladen)/ Bara Svårigheter,” in Gothenburg. Following their contribution to the compilation album Arnes Korvbar and numerous attempts to attract record labels, the band disbanded in October 1983. Now, for the first time, the full-length album ”Livet Är En Bluff” containing IQ 55’s timeless, original, and raw sound is here."

New and soulful songs by the Swedish composer and drummer Martina Almgren. With lyrics from Rabindranath Tagore's poems that touch on love, longing and belonging, they move in a chamber jazz oriental landscape characterized by the thoughtfulness and fragrance of a starry night. In collaboration with oud player Ahmad al Khatib, singer Karin Burman, bass guitarist Owe Almgren, trombonist Niclas Rydh and sound designer Åke

On the EP 'Och sen kom vintern', the longing for something else is pervasive. The band Diket consists of Levina Storåkern, Jonathan Fimland Kleven, Oddbjørn Sponås and Hanna Skjerdal. With band members from prominent bands such as Benedikt, Ævestaden and Hey Gloria, Diket makes melancholic music with roots in the folk tradition. Diket is the interaction between text and music, and themes such as everyday life, nature and longing for something else are present throughout.

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

Producer, designer, publisher, filmmaker, all-round scene phenom - Lasse Marhaug returns with his first album since relocating from Oslo to the Arctic Circle, surveying his 35-year career for a set of grizzled, doom-pocked rhythms and foghorn drones pulled from the aether. Expansive and hard to categorise, it's a precision-tooled set of ice-cold tonal productions that heavily lean into Mika Vainio’s rhythm experiments, with extra levels of growling bass and curious noises to send us deep into the uncanny.

Lasse Marhaug has put his mark on literally hundreds of albums - working with artists like Jenny Hval, Merzbow, Jim O'Rourke, Kevin Drumm, Hilary Woods - so many others - yet he still regards himself as a primarily visual artist who got diverted into an occasionally different path. If his last album 'Context' was a kiss goodbye to decades of life in Oslo, 'Provoke' turns a new page, but one that draws heavily from memories of the distant past, reflecting on the way the topographies of Norway's frozen north helped shape his creative worldview. Weaving electronics into environmental recordings captured in the bleak Arctic winter, the album was mixed during the Polar night season, when, for two straight months, the sun never rose past the horizon. Somehow, even at its bleakest, Marhaug avoids the usual aesthetic signifiers for this kinda thing, finding elements of queered beauty in all the severity, juxtaposing elements that shine a bright light on all the odd spaces in-between.

A consideration of noise music's place in 2024, and whether it can still be a tool for subversion when its aesthetics have been so commodified, ‘Provoke’ also refernces an experimental '70s Japanese art magazine that attempted to define a new language for photography. Operating somewhere between these two guiding poles, Lasse feels his way through a subtly altered mode of expression, a new approach to familiar concepts. Album opener ‘Plates’, for example, gives it the full Ø treatment, like some exceptional ‘Oleva’-outtake, but , eventually, shards of interference start to exhale like horses blowing, creating uncanny sensations that hit through ambiguous feeling rather than sheer noise terror. Ritualistic, corporeal - hard to know what you’re listening to and why it makes you feel that certain way - so much more than just machine cycles optimised for their ultimately hollow brutalist aesthetic.

Marhaug paints vivid pictures from a carefully chosen palette, drawing us into a soundworld that's rich with contradictions and contrasts. Even the relatively deafening 'New Topographics' offsets its wall of distortion with a muffled, perforating kick drum, cutting into the noise like a knife through butter. And all of this preparation makes the album's lengthy centrepiece 'Monochrome Head' even more impactful; hinging on a Pan Sonic-like alloy of bass and drums, the track snowballs through tempered feedback and improv scrapes and whistles that pick up into an orchestral din. Marhaug accents the bluster with rhythmic hums that gather in momentum until they're almost oppressively heavy, as if everything's about to collapse.

A masterclass in quietly subversive world-building, 'Provoke' invites us to peer at an expansive sonic landscape and marvel at its intricacies, but this time around there's a Lovecraftian behemoth lurking somewhere beneath its icy surface.

Cosmic Breeze Records is happy to announce “The Long Way Up”, the second record from our label, featuring a split format showcasing the latest works of Toolate Groove and Bass Toast. As purveyors of soulful music, we pour love into every release, cohesively blending different genres such as House and Broken Beat creating music that speaks to our souls.”The Long Way Up” shows our belief and curiosity in blending both club-oriented and laid-back soulful music. We believe that through music, we can unite and express ourselves in the most true and transparent way, while revealing the depths of our souls.

“A lot of people run to see who’s fastest. I merely run to feel the breeze.”

Greetings from Brussels,

Alex & Seb

"Long sought-after by those in know, this essential Irish jazz album finally gets a vinyl reissue on Outernational Sounds! Fully licensed from producer John D’Ardis, remastered at Abbey Road from the original tapes, and with lacquers cut at Dubplates and Mastering, the Noel Kelehan Quintet’s stunning 1979 Ozone is presented with unseen photographs of the band and commentary from original band members.

Featuring moody, modal jazz of the first order, subtle and original composing and world- class playing, Ozone was the creation of Ireland’s most respected jazz composer and musician, pianist Noel Kelehan (1935-2012). The only small-group album under his name, and arguably the first ever Irish jazz LP, Ozone was a landmark recording, but it was far from Kelehan’s only achievement. Born in Dublin, Kelehan had studied music from an early age. From the mid-1950s he worked at state-broadcaster Radio Éireann (RÉ, later RTÉ – Radio Telefis Éireann), and from the early 1960s he fronted Dublin’s first be-bop unit, the Jazz Heralds. A busy professional career saw him compose for numerous Irish pop stars, arrange and conduct many of Ireland’s Eurovision entries, and even contribute string arrangements to U2’s Unforgettable Fire LP.

But jazz was Kelehan’s first passion, and he never stopped playing in both small modernist units and composing for his own big band. The late 1970s saw him fronting the Noel Kelehan Quintet, alongside drummer John Wadham, saxophonist Keith Donald, bassist Frank Hess and trumpeter Mick Nolan. Playing weekly in Dublin for several years, they opened for visiting stars including Dollar Brand and the Ronnie Scott Orchestra, and eventually played a two-week residency at Ronnie Scotts in London. Though Kelehan had recorded a big-band LP of traditional Irish songs arranged as easy jazz in 1970, Ozone was his first album of modern jazz. Released on John D’Ardis’s independent Cargo imprint and press on blue vinyl, it featured original compositions such as the deep collectors cut ‘Spon Song’, subtle Latin flavours on ‘Spacer’s Delight’ and a beautiful modal arrangement of the traditional Irish air ‘Castle of Dromore’. A legendary recording in Ireland, Ozone reflected Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely."

Nach ihrem im Jahr 2022 erschienenen Album “Midnights“ veröffentlicht Taylor Swift mit „The Tortured Poets Department“ jetzt ihr 11tes Studioalbum. Bereits im letzten Jahr hat sie die Neuaufnahmen (Taylor’s Version) ihrer Alben „Speak Now“ und „1989“ mit ihren Fans geteilt. Die 14-fache Grammy-Gewinnerin hat ihr neues Album "The Tortured Poets Department" angekündigt, während sie bei der Grammy-Verleihung den Preis für das beste Pop-Gesangsalbum entgegennahm. Sie bezeichnet das Album “The Tortured Poets Department“ als ihren “Rettungsanker“, der sie daran erinnert hat, warum das Songwriting für sie so wichtig ist. Swift arbeitet seit über zwei Jahren an dem Album, in dem sie ihre einzigartigen Fähigkeiten zum Songwriting und Storytelling unter Beweis stellt. Sie sagte selbst über das Album während ihrer Show in Melbourne: "I've never had an album where I needed songwriting more than I needed it on 'Tortured Poets." Das Album besteht aus 16 Tracks + Bonus Track “The Manuscript” und ist erhältlich als CD und Ivory Doppelvinyl.

Gracie Abrams veröffentlicht am 21.06.24 ihr mit Spannung erwartetes zweites Album „The Secret Of Us“. Nach zwei gefeierten EPs war das letzte Album ”Good Riddance” (2023) das erste musikalische Statement in voller Länge – Gracies Definition von vertonter Poesie und intimem Pop - mit lebensnahen Texten und ganz viel Tiefgang. Wie auch schon der Vorgänger ist „The Secret Of Us“ wieder von Aaron Dessner (The National) produziert. Schon als Achtjährige zu ersten eigenen Songideen inspiriert, gab Gracie Abrams ihr erstes musikalisches Lebenszeichen Ende 2019 von sich. Für ihre ersten beiden EPs „Minor“ und „This Is What It Feels Like“ als Rising Star gefeiert, verzeichnen viele ihrer bisherigen Songs (u.a. „I miss you, I’m sorry“, „21“ und „Feels Like“) Streamingzahlen in zwei- bis dreistelliger Millionenhöhe. Für ihr letztes Album „Good Riddance“ wurde Gracie Abrams für einen Grammy in der Kategorie „Best New Artist“ nominiert. Zuletzt war Gracie Abrams als gefeierter Support Act auf einigen Taylor Swift Konzerten zu sehen.

Fedka makes his Don’t debut but has been very much part of the family going back nearly 20 years.

The vinyl on this one is ultra limited, just 100 copies so be quick !

It’s his ideas and musical pedigree that make his music stand out and sound like no one else on earth. Never taking the easy route and injecting each production with his own wry humour. The beats ooze funk and the Melodies are always catchy with production that’s full of edits and tricks. An antidote.

This EP has all the Fedka hallmarks; Eccentric riffs and huge basslines colliding with epic 3D chords that skid around on playfully sleazy beats, all inside a Techno framework that references the classic era of ‘wonky’ Techno whilst bringing it right up to date and into the future.

Mastered by fellow Pest band member, Ben Pest.

Support coming already from Luke’s Anger, Carl Craig, Ben Pest, Jerome Hill. LWS, Jaye Ward, Kreggo, Paco Osuna, Red Rackem and Richie Hawtin.

Blood Incantation's "Absolute Elsewhere" ist anders als alles, was man je zuvor gehört hat. Nur wenige Bands beherrschen musikalische Wendepunkte so perfekt wie dieses Quartett aus Denver, Colorado. Mit einer Länge von etwa 45 Minuten sind die beiden Song-Kompositionen dieses Albums ebenso verwirrend wie einnehmend in ihrem Umfang. Sie vereinen die 70er Jahre Prog-Anleihen von Tangerine Dream (deren Thorsten Quaesching auf "The Stargate Tablet II" zu hören ist) mit der tödlichen Intention von Morbid Angel. Blood Incantation haben bereits bewiesen, dass sie mit "Hidden History of the Human Race" (2019) den progressiven Death Metal perfektioniert haben, während sie mit "Timewave Zero" (2022) in ein ausschließlich synthiegetriebenes Soundtrack-Territorium eintauchten. Jetzt, mit "Absolute Elsewhere", das seinen Titel von dem Prog-Kollektiv aus der Mitte der 70er Jahre hat (am besten bekannt als himmlischer Zwischenstopp für King Crimson-Schlagzeuger Bill Bruford), lassen Blood Incantation den Begriff des Genres hinter sich und schreiben eine neue Sprache für die Extreme Musik selbst "Absolute Elsewhere" ist erhältlich als Ltd. Deluxe 3CD+Blu-ray Artbook, Ltd. CD Digipak, Gatefold black 180g LP & Poster, Ltd. Gatefold 180g transp. türkis LP & Poster sowie als Digital Album.

Rejoice fiends, as this halloween Utter ventures into the darkness for its long-lost 13th release, a limited double LP by infamous electro sorcerer Labyrinthine.

'II-V' wrangles 11 daemonic invocations from the infernal vortex, cut loud at 45rpm on deep red vinyl and incarcerated within artwork by Alison Flora, painted in her own blood.

'II-V' is not for the faint of heart, as its cursed soundscapes have been known to intoxicate and overwhelm even the strongest and purest of minds. Listener beware!

Released on 15th November via Polydor Records, “Small Changes” is the eagerly anticipated follow-up to Michael’s eponymous third LP, the Mercury Prize winning, and Grammy Award nominated “KIWANUKA”.

“Small Changes” was produced alongside Danger Mouse and Inflo, the team behind the globally acclaimed “KIWANUKA” and its equally acclaimed predecessor, “Love & Hate”. The new record was recorded between London and Los Angeles. The core trio made up of Kiwanuka and his trusty co-producers expanded into a wish-list ensemble that featured legendary bassist Pino Palladino (D’Angelo, John Mayer, Beyoncé) and Jimmy Jam of the iconic Jam and Lewis songwriting and production duo (Janet Jackson, Prince, SOS Band).

A welcome return for one of Britain’s most talented of songwriters, most recognisable of vocalists, and most virtuosic of guitarists.

Art by YOUT and photography by Marco Grey.

180g heavyweight black vinyl in gatefold sleeve. Includes full size 12pg lyric booklet.

The inspiration comes from The rhythms that unite us, the sounds
that guide us on a meditative journey. The whole set maintain a
development and exquisiteness in each note and section that
flood you with a hypnotic and essential groove, offering an
immersive and captivating experience as result.
--
This is an odd to unity!
A long time ago in the Mongolian steppe, people from the Khori,
the Kiyat and the Sunud decided to unite their forces with other
tribes to fight against the oppression of Western forces. The tribal
leaders celebrated their union under the stars of Altan Ovo sacred
mountain. The Mongol Empire was born, the attackers were
defeated and the steppe found peace for centuries.
Don’t stay alone, go with your tribe and you’ll be able to move
mountains!

„Into The Gap“ von den Thompson Twins ist ein epochenprägendes Album der 80er. Diese Neuauflage
zum 40. Jubiläum ist die umfassendste Neuauflage dieses Albums aller Zeiten, remastered in den Abbey
Road Studios und zusammengestellt mit dem vollen Segen aller drei Bandmitglieder aus der klassischen
Besetzung.
„Into the Gap“ gilt als eines der erfolgreichsten Alben der Band und symbolisiert den Höhepunkt der
Synthie-Pop-Ära. Das Album enthält Hit-Singles wie „Hold Me Now“, „Doctor! Doctor!“ und „You Take
Me Up“, die das Talent der Band für eingängige, Synthie-getriebene Popsongs hervorhoben. Zu dieser Zeit
waren die Thompson Twins eine treibende Kraft in der New-Wave-Bewegung; „Into the Gap“ erreichte
Platz eins der britischen Albumcharts und verkaufte sich in den USA über 1 Million Mal. Der Erfolg des
Albums wurde durch den Aufstieg von MTV begünstigt, wo die visuell beeindruckenden Musikvideos der
Band eine entscheidende Rolle für ihre weltweite Anziehungskraft spielten. „Into the Gap“ verkörperte
den Geist der Popkultur der 1980er Jahre und kombinierte innovativen Sound mit einer starken visuellen
Identität, was es zu einer prägenden Platte des Jahrzehnts machte.
Beide physischen Formate verfügen über digital restauriertes Artwork und neue Linernotes, geschrieben von
John Earls und mit Beiträgen aller drei Bandmitglieder. Das LP-Format auf begehrtem rotem Vinyl bildet
die Originalveröffentlichung liebevoll nach, komplett mit ausklappbarem Einleger; das Dreifach-CD-Format
umfa

"Swingin'" is the key word for this great 1962 recording session with the marvelous Dexter Gordon's tenor saxophone, leading an all-star quartet including Sonny Clark - piano - Butch Warren - bass - and Billy Higgins - drums.

The album opens with the infectious, Afro-Cuban groove of "Soy Califa', featuring the unique Billie Higgins beat, and develops through some Hi-Class renditions of romantic standards such as 'Don't Explain' and 'You Stepped out of a Dream', plus the dynamic Latin rhythm of Butch Warren's 'Backbone'.

Moods & Grooves taps into South Africa’s plentiful talent pool and welcomes the prolific and talented deep house producer Myazisto to the stable.

Known for his lush, soulful soundscapes and hypnotic beats, Myazisto’s unique fusion of minimalistic rhythms and immersive grooves now hits the analog world, offering fans a rich auditory experience.

Myazisto’s first-ever vinyl release and US label debut features two immersive deep house tracks, Centuries and The Grove. Both releases showcase Myazisto’s unparalleled ability to blend soulful house rhythms with hypnotic beats and rich melodies. Centuries dives into timeless grooves, while The Grove takes listeners on a melodic journey through lush soundscapes, solidifying his place in the deep house scene

*Vinyl reissue* Now available for the first time on limited edition 12”.
After two albums on A Strangely Isolated Place as Comit, James Clements brings his ASC alias to the label with a completely new and revealing style, focusing on the piano and creating space for the listener to construct their ownassociations with an imaginary Soundtrack.
Bridging the majority of Electronic styles over the past twenty years, from Autonomic and Jungle, to Ambient, Techno and IDM, James Clements can be held up as a master of these styles by many of us, but when it comes to boiling down his musical intricacies to focus on a single instrument, you’d be hard stretched to find something within his vast catalog until now. In 'Original Soundtrack' the piano is now the focus across eight introspective acts, with the spaces and places left
open for further interpretation.
Mastered by Rafael Anton Irisarri and featuring photography by Greg Nunn, Original Soundtrack was originally available as a limited Digipak CD and digital download and is now available as a limited edition 12” pressed on black vinyl.

elbow return with their seventh studio album on 3rd February 2017. 'Little Fictions' was recorded in Scotland and Manchester and sees the band collaborate with the string players of The Hallé Orchestra, the Hallé Ancoats Community Choir, members of London Contemporary Voices and session drummer Alex Reeves. As with the previous three elbow albums it was produced by Craig Potter.
'Little Fictions' is emphatically a band album. Having written individually for its chart-topping predecessor, 'The Take Off and Landing of Everything', sessions this time were collective affairs, with all four members gathered initially in a house in Scotland before moving to Guy's attic in Prestwich and finalising recordings in the familiar setting of Blueprint studios, Salford.
'Little Fictions' is an upbeat album. All the band talk of the sessions being 'joyful', Mark summarises it as 'the sound of four people who love what they do and each other', of an album that came into being naturally and, at times even unconsciously. Lead single 'Magnificent (She Says)' was embraced for the joyous, thrilling piece of music it is, positive and outward looking. Mark never even considered his audible switch towards electric guitars, most notable on the psychedelic lushness of 'All Disco', until the very end of the process.
The departure of drummer Richard Jupp prior to commencing the writing and recording process in earnest saw early sessions characterised by new approaches to rhythm, with the band utilising percussive noises, sampling and loops to build tracks. The grooves that run through much of the album, from the go-go beats of 'Gentle Storm' through the jagged trip hop of 'Kindling' to the soulful 'Firebrand & Angel' represent both the band's widest musical palette and a newfound sense of experimentation borne from both necessity and desire. That desire fuelled the title track, an eight minute piece that is epic without at any point feeling excessive. As a shorthand for the album it is perfect, crossing musical genres and experimenting with sound in ways that demonstrate the confidence and enthusiasm of the band throughout the recording process.
'Little Fictions' is, therefore, more than just yet another brilliant elbow album. In many ways it marks the start of a new chapter for the band, characterised by a rediscovery of shared purpose in doing the thing that has always brought them together, the place that Mark describes as 'the creative space where we all meet'.

"Inferno" ist das 17. Album von Motörhead und wurde
ursprünglich am 22. Juni 2004 veröffentlicht. Es war das
erste von vielen Alben der Band, das von Cameron Webb
produziert wurde. "Inferno" wurde das härteste Album von
Motörhead seit Jahren, obwohl der letzte Song des
Albums "Whorehouse Blues" mit seinem
Country-Blues-Stil und Lemmy an der Mundharmonika so
etwas wie eine Ausnahme darstellte. Das Album wurde
als ihr bestes seit einem Jahrzehnt gepriesen. Das Album
erscheint nun neu als orangefarbene Doppel-Vinyl und als
Digipak

Introducing Wishy, a brand new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. Wishy came to life as a musical partnership between the two Indianapolis musicians when Pitchkites moved back home from Philadelphia in 2021. The two bonded over their love for 90s alternative bands like The Sundays and My Bloody Valentine and soon began crafting their own brand of swirling pop-rock with an introspective, grungy flair. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. While Krauter spent the better part of the last decade cementing his place as a torchbearer of Midwestern dream pop with 2018's Toss Up and 2020's Full Hand, Pitchkites delved into her own indie electro-pop project Push Pop, writing songs like "Spinning" that would later be reworked for Wishy. To round out the live band, Pitchkites and Krauter enlisted guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. Across two trips to Los Angeles in late 2022 and early 2023, Krauter and Pitchkites linked up with friend and producer Ben Lumsdaine, who had some spare time between Durand Jones tours to record the pair's newly written songs. The result of their fruitful time in sunny California is the aptly named Paradise, a breezy and melodic EP that puts on full display the songwriter's musical fluency. Tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze, Wishy delivers a strong 5-song introduction that's dense with melodic earworms and stirring sentiment. Wishy's debut single for new label home Winspear, the driving and distorted "Donut," showcases Pitchkites' hypnotic vocal and Krauter's melancholic wash of guitars. Written after a period when Pitchkites was driving on a spare, "Donut" laments the cynical capitalism of Midwest living and the reliance on a car to get around. Of the song Pitchkites says "When you've got the possibility of the open road plus the limitations of your shitty car-and you're stuck driving on a donut spare tire- it's a Catch 22." Throughout Paradise, the band laments on American loneliness and idealism as it relates to our everyday lives. Across the EP's five tracks, Pitchkites and Krauter trade bittersweet reflections on love and self actualization over vast, scrappy guitar chords. The whole thing feels equally indebted to early aughts alt-rock and '90s jangle pop. Wishy's music is cathartic, yet underlined by a subtle brooding energy-sitting nicely alongside the work of their contemporaries like Momma or Tanukichan, both of whom Wishy will have shared the stage with. Wishy will be touring this Fall supporting Tanukichan, and the band will make their first festival appearance at LEVITATION in Austin, TX. After that, they have their eyes set on finishing their debut album, slated for release via Winspear in 2024

2024 Repress

It’s been a long wait, pressings difficulties have got in the way, but here finally, slightly out of sequence, is the next release on SuperRhythm Trax.

Luca Lozano’s returns for his third EP on the label and turns in something truly special.

Packed full of bleeps, bass and breaks, with heavy nods here and there to Sheffield, plus the extra treat of ‘Summer Of Love’ with its dubwise swing and bonus DJ Steve remix for the real Break heads.

1975 veröffentlichte der Altsaxophonist Alan Braufman aus New York City sein Debütalbum Valley of Search auf dem Label India Navigation. Braufman nahm daraufhin Platten auf und tourte mit allen möglichen Leuten, von Carla Bley bis zu den Psychedelic Furs, und veröffentlichte erst 2020 mit The Fire Still Burns ein weiteres Album unter seinem Namen, das von The WIRE, Downbeat, Rolling Stone, Pitchfork und NPR begeistert aufgenommen wurde. Infinite Love Infinite Tears von 2024 ist ein überraschend eingängiger Free Jazz, detailreich und direkt, der eine Reihe von Emotionen und Umständen verkörpert, die Individualität, Kollektivität und Hoffnung vermitteln. Es steckt viel Geschichte und Liebe in dieser Band und in Alan Braufmans Kunst insgesamt. Rund fünfzig Jahre nach seinem Debüt auf Platte ist seine Klangwelt so lebendig und einladend wie eh und je.

"With just a handful of teasing plays, the ID requests for this tune here have been snowballing out of control. And rightly so. The track is a coproduction of Keinemusik's own Adam Port and California based producer Stryv. Both met in Kreuzberg, exchanged some ideas and came up with „Move" - the undeniably most sensual and well… moving club anthem of the season."

The Invisible Road: Original Recordings, 1985–1990 compiles an unheard, previously unreleased body of recordings by Sussan Deyhim and Richard Horowitz, dissidents from diametric backgrounds who met during the heady days of Downtown New York in the 1980s. This collection reveals the creative and life partners’ radical shared vision of avant-garde pop in all of its boundary pushing freedom, combining Deyhim’s singular approach to vocalization, Horowitz’s invention of new musical languages, and touchstones of traditional music from around the world, creating a new music that ultimately retains a voice entirely its own. Despite their difference in backgrounds and respective journeys, at the time of their meeting in the early 1980s in New York City, Sussan Deyhim and Richard Horowitz were both products of the search for freedom and understanding (and resultant awakenings) that swept the globe and helped culturally define the late 1960s and 70s. Deyhim, born and raised in Tehran, spent her teens dancing with Iran’s Pars National Ballet company, performing weekly on Iranian national television, and travelling her home country studying with master folk musicians and dancers, before relocating to Belgium and joining Maurice Béjart’s prestigious Béjart Ballet of the 20th Century. Horowitz, born and raised in Buffalo, New York, had spent much of the decade before abroad, first departing for Paris under the shadows of the Vietnam War, where he studied piano, Eastern philosophy, and became entrenched the city’s free jazz scene, playing with the likes of Steve Lacy, Anthony Braxton, and Alan Silva, before embarking south to Morocco where his friendship with Paul Bowles helped cultivate a deep passion for the country’s musical traditions and a shift in his musical practice.



The pair met by chance sometime in 1981 at Noise New York, a small studio on West 34th Street founded by the musician and recording engineer, Frank Eaton, as a utopian creative laboratory that beckoned artists and bands like Arthur Russell, Christian Marclay, Liquid Liquid and Butthole Surfers into its orbit. Both artists had recently relocated to the city, Horowitz having recently released his debut album, Oblique Sequences (Solo Nai Improvisations), on the legendary Paris based imprint Shandar, and fallen in with members of New York avant-garde like La Monte Young, Jon Hassell, David Byrne, and Brian Eno, and Deyhim having begun to more actively incorporate singing into her practice, notably recording a vocal score for choreography she was doing at La MaMa Experimental Theatre.



Initially bonding over a cassette tape of field recordings made by Paul Bowles that had been given to mutual friend and writer Brian Cullman (seeking answers for Ornette Coleman’s question “what is the sound of sound”), their earliest collaboration was documented on Horowitz’s 1981 album, Eros In Arabia, with Deyhim contributing vocals to the track “Queen Of Saba.” Over the coming years, their deep connection would routinely gravitate them into the studio, culminating in the body of recordings that would appear on their 1986 album for Crammed Discs, Desert Equations: Azax Attra. Unknown to nearly all but the artists, laying in wait over the decades on numerous multi-track and stereo reels, DAT tapes, and reference cassettes, were a vast array of recordings made by Deyhim and Horowitz bookending Desert Equations. The 13 pieces represented on The Invisible Road: Original Recordings, 1985–1990 were recorded largely between Noise New York and Daylight Studio in Brussels, during a period that Deyhim describes the partnership between herself and Horowitz’s as seeking a music “free of any specific cultural reference, with a personal musical signature,” blossoming into a body of sonority that embraced the energy of contemporary boundary pushing pop and the avant garde, filtered through their mutual love and study of various musical traditions from across the globe and deep engagement with the ideas and tactics of experimental music.



Undeniably rooted in Horowitz’s study of the North Africa ney and the music of the Berber and Gnawa cultures during his time in Morocco, Deyhim’s deep engagement with the folk traditions of Iran, and the couple’s immersion in the interconnected Downtown underground music scenes, each piece on The Invisible Road offers its own vision creative and cultural hybridity. Deyhim sings in both English and Farsi, as well as a composite tongue that she developed by drawing upon numerous indigenous vocal techniques from around the world, intuitively responding to Horowitz’s simultaneous sound syntax forming and combining a wide range synthetic and acoustic instrumentation, and experimental tape techniques, within a visionary series of free-standing expressions.

Sweet Music Volume II is the long awaited follow up compilation from one of Nigeria’s most adored 80's artists, Dizzy K. Falola. Featuring the most sought after tracks from his last three albums this double LP has both the dance floor feet movers he was known for and some more experimental African pieces but it's all glazed with that 80's Nigerian boogie sound we've come to love. With restoration by Colin Young, and Vinyl Mastering by Frank Merritt at The Carvery the pressing is a beauty. Only pressed in a small quantities. This is one you don't want to miss!

After the reissues of The Beloved’s indie–facing compilation of early singles Where It Is and their first studio album Happiness, next up is their second studio album, Conscience.

Conscience was originally released in 1993, reaching no.2 in the UK album chart hitting 100,000 selling BPI Gold status. It contains their biggest hit to date, the BPI Silver disc awarded Sweet Harmony, a top 10 in the UK and across Europe. Other singles include double A-side of Celebrate Your Life and You've Got Me Thinking, Outerspace Girl, which both hit the UK top 40 and Rock To The Rhythm Of Love, which was released in the United States only.

Available as a 180g heavyweight double vinyl package for the first time, Conscience has been remastered from the original analogue studio masters (by John Davis at Metropolis Studios) boasting louder and clearer audio than the original release. Original pressings of the album are currently selling on Discogs for over £100.

This is a limited run of white heavyweight vinyl, with a standard heavyweight black vinyl release with extra artwork + liner notes following in 2025.

Conscience is a timelessly classic album, still sounding fresh 30 years after its original release.

Vibes Addikt is excited to announce the release of "Midnight In New York - 2024 Remixes," a project that highlights the iconic track by Michael Sanctorum, which has long captivated the Belgian audience and has become a staple in the history of dance music.

The label, led by French producer N.O.B.A—who has received support from influential artists such as Charlotte de Witte, Klaudia Gawlas, Yves Deruyter, Thomas Schumacher, and Amelie Lens—presents four original remixes by renowned talents: N.O.B.A, Manu Kenton, DJ HS, and Samuel Sanders. Each artist brings their unique touch while paying tribute to the captivating melodies and atmosphere of the original.

These remixes, rooted in the techno universe, promise to take you on a sonic journey that harmoniously blends modernity and nostalgia. The vinyl itself showcases a stunning bluish hue adorned with stars, evoking the enchanting essence of the track and the vibrant nightlife of New York.

Don’t miss this chance to rediscover a reimagined classic for today’s dance floors!

Vibes Addikt est ravi d’annoncer la sortie de "Midnight In New York - 2024 Remixes", un projet qui met en lumière le titre emblématique de Michael Sanctorum, qui a longtemps captivé le public belge et est devenu un incontournable de l’histoire de la musique dance.

Le label, dirigé par le producteur français N.O.B.A—qui a reçu le soutien d’artistes influents comme Charlotte de Witte, Klaudia Gawlas, Yves Deruyter, Thomas Schumacher ou encore Amelie Lens —présente quatre remixes originaux signés par des talents renommés : N.O.B.A, Manu Kenton, DJ HS, et Samuel Sanders. Chaque artiste apporte sa touche unique tout en rendant hommage aux mélodies envoûtantes et à l’atmosphère de l’original.

Ces remixes ancrés dans l’univers techno promettent de vous emmener dans un voyage sonore qui allie harmonieusement modernité et nostalgie. Le vinyle lui-même arbore une teinte bleutée saisissante ornée d’étoiles, évoquant l’essence enchanteresse du titre et la vie nocturne vibrante de New York.

Ne manquez pas cette chance de redécouvrir un classique réimaginé pour les pistes de danse d’aujourd’hui !

Ben Klock & Fadi Mohem announce debut collaborative album featuring Coby Sey and Flowdan on new label LAYER

Ben Klock and Fadi Mohem present their first collaborative album on their new label LAYER. The ten-track full length project titled Layer One follows the hypnotic EP Klockworks 34 that set the stage in 2022. In a bold departure from the techno roots that have defined and nurtured their careers, Klock and Mohem are now pushing genre boundaries, exploring IDM, ambient and experimental electronic music while still retaining the brilliance that characterised their earlier work.

The conceptual direction of Layer One delves into a post-human world, where humans are close to extinction on Earth, leaving only imprints, traces, and relics behind—digital fossils and machine-generated images capturing fleeting moments of non-human photography, as Artificial Intelligence remains in a world that quietly thrives without us. We do not perceive this as a bleak apocalyptic dystopia, but more a sober and serene reflection of a world that continues to exist and flourish, indifferent to the absence of humanity. Despite this unremitting setting, through this journey we find survivors who signal a remembrance of the human sensibilities.

Elevating this project are two very human and dynamic collaborations featuring the charismatic Coby Sey and the legendary grime MC Flowdan. Sey, a prominent figure in the British music scene known for his work with artists like Tirzah and Mica Levi, injects his music with a mesmerizing emotional depth. Opening the album with the powerful track ‘Ultimately,’ Sey offers spoken-word musings on creativity and life over experimental landscapes meticulously crafted by Klock and Mohem. Nostalgia permeates this opening track, and track 7 ‘Clean Slate’ reinforces this sentiment with Sey’s stream-of-consciousness wordplay.

Flowdan, the gritty MC whose verses have become anthems of the UK grime movement, made headlines in 2023 with two songs that reached the top 20 of the UK singles chart. In 2024, he was awarded his first Grammy for the Skrillex and Fred Again collaboration Rumble, becoming the first grime artist to win in any category. On track ‘Our Sector,’ Flowdan unleashes his raw energy and dynamic flow, adding a thrilling vocal dimension to the album’s narrative. The fluid delivery of his lyrics and rhythmic timing are enhanced by the staccato beats and abstract synths. These collaborations are not mere features; they are pivotal moments that crystallize the album’s vision—an experimental re-imagining of electronic music’s possibilities.

Immediately offering an impressive entry to Klock and Mohem’s changing sonic universe ‘Escape Velocity’ shows the collaboration at its strongest. Deftly juggling between ambient chords and more densely intricate rhythmic moments. These tightly layered textures and intense clashing moments are continued through most of the album. On other tracks the duo are just as innovative ‘Rest Assured’ rips open the sound palette Klock and Mohem are known for, synths dart around flickering through into unexpected areas. Penultimate track ‘The Machine’ feels like the internal innards of a PC or synthesizer brought to life. Electricity flows through the track like an auditory exploration of the digital world's hidden mechanical and electrical processes. In contrast, final track ‘Melatonin’ does exactly what the name suggests; its soothing melodic ambience cradles the listener as the album draws to a close.

Alongside the album’s release, the duo will release two singles. This album represents the work of two artists at the peak of their creative powers, inviting listeners to step outside the familiar and explore a different musical perspective.

Lisa Gerrard, the renowned Australian vocalist and composer, presents the compilation "Come Tenderness". With the inspiration of the healing power of water at its core, the album has been personally curated by Lisa and features ten of her most exceptional works newly mastered alongside a brand-new song "Whispers". The hand-picked playlist forms a cohesive album showcasing each track in a new light alongside striking artwork by Nigel Grierson. In keeping with her collaborative nature, the album includes iconic pieces Lisa has created over the years with Daniel Johns, Astrid Williamson and Patrick Cassidy. At the forefront of every track is Lisa's ethereal and iconic vocals which, combined with her expressive and profound compositions, come together to form a truly emotional listening experience. With a vision and vocal style that is as unique as it is precise and all-embracing, Lisa Gerrard has established herself as one of the world's most highly acclaimed film composers and vocalists, including winning a Golden Globe for her work on the score for 'Gladiator' with Hans Zimmer. Her musical journey began in the early 1980s when she and fellow Australian Brendan Perry formed duo Dead Can Dance. With nine albums released between 1984 and 1995. Lisa's vocal performances continue to be heard across the world. She performed as part of 'Gladiator Live' at The Royal Albert Hall in London in 2018 and as part of 'The World of Hans Zimmer - A Symphonic Celebration' tour. In 2021 and 2024 she was a Featured Vocalist on the score for 'Dune' and 'Dune: Part Two', directed by Denis Villeneuve.

Amorphic & Tensal join James Ruskin's Blueprint Records family with their "Distant Landscapes EP" this November, which closes out the label's 2024 catalogue.

Amorphic is the pseudonym of Scottish artist Vince Watson, aimed at exploring more raw and hypnotic signatures. Launched in 2022, Amorphic has featured on labels like Token, Symbolism and Modularz as well as Vince's self-formed labels Amorphic and Morph. With almost 30 years in the industry, Vince has released over 1000 tracks, which has allowed him to work and gig with some of the very best. He now teams up with Spanish artist Tensal for this new EP.

Tensal is the alias of Héctor Sandoval (who is also one half of Exium, Komatssu and Selección Natural), created togive space to his more cyclical and modern vision of Techno in which he combines different rhythms and textures. After a handful of works released on his own label, he has recorded for the likes of Mord, Modularz, Arcing Seas, Warm Up, Perc Trax, Cabrera, Polegroup (of which he is a founding member) and Soma, where he released his first LP in 2018.

Together they've drawn on their individual skills to deliver 4 deep and driving Techno cuts that perfectly fit James Ruskin's influential label.

In this next installment of Token, Brussels' own Border One steps in to showcase 'Echoes from the Abyss', another swinging, modular-driven project destined for controlled sound systems. In these four tracks, the seasoned producer does what he knows best: engaging the dancefloor through his signature sound design and use of space.

'Echoes from the Abyss' the track, like the EP, is a collection of sound associations that are synonymous with Border One's sound. Resonant and cerebral yet bouncy and full of groove, the A1 presents a shimmering veil of synthwork that gives off a truly hypnotic effect. The follow up is much more sequence-based, focusing on the elements' interactions. The producer plays along freely with his drum machine, responding to a classically loopy and dissonant main synth that insists its way from beginning to end. Tension is everything, especially when met with a sustained chord in the second half, turning the record into a weapon of suspense. 'Celestial Observer' comes back straight and center with a focused tone and a progressive arrangement. With a thick low end and shrill highs, Border One flicks through percussion patterns and filter sweeps to make an intense, at times close eyed dancefloor experience. Ducking back into obscurity for the last track, 'Escaping the Void' takes on a more minimally produced style that breathes a bit after its previous, denser productions. Concluding with a question mark is always very appropriate, and here we're faced with a record caught between ethereal soundscapes and tense implications. With 'Escaping the Void', Border One closes with his latest contribution to Token with class as always, appealing to genre veterans and newcomers alike.

Futureslowdubdisco moves in a deep groove of sonic slowness: a two-way collaboration between producers Francesco Colagrande and Simone Ticconi, the creators of ‘Superpaesaggio’, their debut for Hermit Records.
These four original tracks blend dub and deep techno abysses, ephemeral ambient atmosphere, and hypnotic library obsessions. Lose yourself blissfully in the low beats, the lazy flow of the four movements, the hypnotic repetition, the almost shamanic rite that takes over all your senses.
The conclusion, though, is entrusted to two cleverly manipulated remixes of L'oggetto and D Lewis & Paul Hyde, which cranks up the BPM dial. Enclosed within kaleidoscopic artwork put together by Flavia Mastrella (Leone d'oro 2018), ‘Superpaesaggio’ is a journey into sound that has no worries sinking into the reverberations and delays of ordinance, as well as involving sparse and distant voices that bring more human entities into the entire Futureslowdubdisco project.






e B2 SUPERPAESAGGIO 1 L'oggetto RMX
D Lewis & Paul Hyde RMX

NO COVER!

LTD Edition white vinyl version of RÜFÜS DU SOL's debut LP 'ATLAS' that hit Number 1 in Australia. The album was a testament to the band’s passion, work ethic and DIY approach to music, featuring the much loved singles 'Take Me' and 'Desert Night'.

A labour of love, the album was written, produced and recorded by the band between two studios they built themselves - one in a remote farmhouse on the NSW south coast, the second in a hollowed out water tank under one of their parents houses.

Brandneue Auflage auf lavendelfarbigem Doppelvinyl: "Best Day Ever" ist das fünfte Mixtape des US-Rappers Mac Miller und erschien ursprünglich 2011 als Nachfolger des gefeierten Mixtapes "K.I.D.S." (2010). Es besteht aus 16 Songs, die von 9 Produzenten (hauptsächlich ID Labs) produziert wurden, und enthält Features von Wiz Khalifa und Phonte. Die Single "Donald Trump" war Millers erster Einstieg in die US-Singlecharts, erreichte #75 und wurde mit Platin ausgezeichnet. Seite D ist geätzt.

Celebrating dance music's roots in Africa, global music superstars SOWETO GOSPEL CHOIR and renowned Australian DJ GROOVE TERMINATOR team up with Grammy- winning producer LATROIT to present 'History of House', an expertly crafted re-imagination of the iconic dance music classics that defined the genre at its inception and continue to influence it today.

Featuring vocal performances in Zulu and English, collaborations with Southern Africa's top emerging music producers, and live musical performances throughout, History of House is a cultural and musical celebration, authentically and effortlessly blending global beats, Afro house, Amapiano, and house music into a sublime listening experience that elevates any environment. This is a special project, and we are proud to share it with you. FEATURING: World Hold On, Good Life, You Got The Love, Everybody's Free, and More

Two-Piers präsentiert die nächste Killer-Compilation: "Weird Scenes From The Hangout (Psychedelic & Freakbeat Dancefloor Anthems 1967-1982)", kuratiert von Richard Norris (The Grid, Beyond The Wizard's Sleeve, The Time And Space Machine) und zentriert um seine Liverpooler Clubnacht "The Hangout" in den 1980ern. Dort brachten er und weitere DJs bewusstseinsverändernden Wahnsinn aus Psychedelia und Freakbeat auf die Tanzfläche. Herausragende Songs wie "The Left Banke - I've Got Something On My Mind", "The Turtles - Buzzsaw" oder "Can - Outside Your Door" wurden zu echten Hangout-Hymnen. Man widmete der eher trendy Ausbeute der Spät-Sechziger ebenso viel Zeit wie angesagten Acts, solange der Groove auf dem Dancefloor funktionierte. Das Hangout kam und ging im Nu, aber sein Erbe, psychedelische Fußstampfer auf die Fläche zu bringen, lebt weiter, gemeinsam mit der Liebe zu allem, was mit Beat und Freak zu tun hat.
** Exclusive tracks to Vinyl Format

"For the first time, A Rush of Blood to the Head by Coldplay will be manufactured on EcoRecord. EcoRecord sounds and looks as great as a traditional vinyl record, but it’s been manufactured using 100% recyclable PET, instead of PVC. EcoRecords are also produced using injection moulding technology, with energy savings of up to 85% compared to the traditional vinyl process.
A Rush of Blood to the Head includes the singles In My Place, Clocks, The Scientist and God Put a Smile Upon Your Face. Produced by Coldplay and Ken Nelson, the album earned the band three Grammy Awards, including Best Alternative Album and Record of the Year (for Clocks)."

Der Multi-Instrumentalist Nate Mercereau hat sein neues Album Excellent Traveler auf Third Man Records angekündigt. Das phantasievolle Album
besteht aus einer Vielzahl von Sounds, die Mercereau auf seinen Reisen, in seinem Alltag und bei seinen Studiosessions mit Künstlern wie André
3000, Shabaka Hutchings, Kamasi Washington, Carlos Niño und anderen aufgenommen hat.
Als kreativer Künstler an der Spitze des modernen Klangs setzt Mercereau gitarrengesteuerte Samples und Synthesizer ein, um eindringliche,
multidimensionale Landschaften zu schaffen, und lädt den Hörer ein, unendliche Räume der Möglichkeiten zu erkunden.

'Loukoumades' is the latest album from the Dave De Rose led international improvisation project Agile Experiments, released in full on November 15th on None More Records.

The title 'Loukoumades', which is the Greek word for doughnut, was inspired by J Dilla's album "Donuts", tipping the hat at the connection between the Greek location of the sessions, the musical style of Penka's hip-hop/funk drumming and the Agile Experiments avant-garde sonics the project was founded on. The record is built on breaks and beats layered with eerie loops and effects, calling on hip hop, post-punk, psychedelia, dub and further out-there experimental textures. 'Loukoumades' brings to mind the textures of El-P's production work for the likes of Cannibal Ox or DJ Shadow in his Endtroducing era, whilst the live drums and bass guitar give the album a real energy and tightness reminiscent of Portishead's Third or Can at their funkiest.

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

Our favourite Colombian of all time is by far Felipe Gordon. His individual (and jazzy) take on house music and beyond has given him a big following within the underground dance community. We reached out to Felipe and asked him if he wanted to do a release on GAMM with only one request..."do whatever you want".

The music we got sent back is a beautiful four-track EP that delivers all aspects of Felipe Gordon's unique take on dance music.

The main track 'Self Love' is a warm and intimate jazz excursion that also plays around with some quirky electronic ideas...feel good with a twist. The second jam 'The Punk Automata' got a more bumpy and driving rhythm and has a slightly stronger club play appeal.
On the third track 'Your Feelings' we go darker with a proper late-hours deep house jam...proper!
On the final track, Felipe teams up with Bob The Egoist (great name) for a deep and musical vocal jam entitled 'Please Don't Go'.

Don't forget about the amazing artwork supplied by our favourite Scotsman, Mr Al Kent. This man truly has the magic feel when it comes to creating authentic vinyl designs.

Auf seinem neuen Album "Golden Age" bewegt sich der aus Brooklyn stammende, in New Orleans lebende Gitarrist und Grammy-nominierte Produzent Gitkin zwischen Surf, Psychedelia und Worldbeat-Einflüssen aus Lateinamerika, Nordafrika und Nahost. Gitkin ist Frontmann der Soulband The Pimps of Joytime aus New Orleans, seine Produktionscredits reichen von Corey Henry & The Treme Funktet über Bernard Purdy bis zu Cyril Neville und Cedric Burnside, für dessen Album "Benton County Relic" er bei den 61. Grammy Awards mit einer Nominierung für das "Beste Traditionelle Bluesalbum" geehrt wurde.

Proudly presenting a 7-inch reissue of this mythical, raw funk rarity by the Miami-based, Cuban rock band, Pearly Queen. Featuring the hugely sought after, infectious cut ‘Quit Jive’ In’ and a fantastic cover of The Rascals ‘Jungle Walk’, this is a double header of mid ‘70s funk fire.

Originally released on Cuban record producer Manuel J. Mato’s Sound Triangle Records in 1974, who had emigrated to the US in 1960, this scarce funk gem has long been a prized funk 45 find. DJs and collectors such as Keb Darge and Jazzman Gerald brought this to our attention in the 1990s, with the status of the track amplified by its inclusion on DJ Shadow & Cut Chemist's landmark 7" DJ mix ‘Brainfreeze’. DJ Shadow, also used the drums and horns break to masterful effect on his track 'The Number Song' (1996) taken from his infamous 'Endtroducing.....' album on Mo Wax.

Written by Ray Fernandez of Ray & His Court fame, 'Quit Jive' In' is a swaggering funk throwdown, dripping in groove and underpinned by heavy breaks and punchy horns. Whilst on the B side, the rock-funk 'Jungle Walk', is a cover version of The Rascals 1972 original. Penned by the singer, songwriter and guitarist Buzzy Feiten, it wouldn’t be out of place as part of the soundtrack to a Tarantino movie.

We can't think of many deep funk tracks we love as much as this beauty. Sadly, for collectors, this original 7" has remained elusive to even some of the most hardened and dedicated diggers, so it feels a fitting release to re-issue for all to savour.

Zum 50sten Jubiläum (genau genommen 51sten) des 1973 erschienenen Solo-Debüts von Haruomi Hosono - dem Kultalbum 'Hosono House' - haben sich auf dieser Compilation verschiedenste Künstler versammelt, um mit ihren eigenen Neuinterpretationen einem Werk Tribut zu zollen, dessen Wirkung und Einfluss weit über Japan hinausreicht und auch heute noch spürbar ist. So nannte u.a. Harry Styles es als eine der Hauptinspirationsquellen für sein Grammy-gekröntes Album 'Harry's House'.
Bekanntheit erreichte Haruomi Hosono auch mit dem Elektropop-Trio Yellow Magic Orchestra, dem auch Yukihiro Takahashi und Ryuichi Sakamoto angehörten.
Die Compilation wurde von Josh Bonati gemastert, das Vinyl für ein besseres Hörerlebnis mit 45rpm geschnitten.
Auch für das Artwork ließ man sich durch das Original inspirieren von Tomoo Gokita.

- 2LP: ( inkl. OBI & Einleger mit Archivfoto sowie bedruckter Innenhülle)

UEVPD - Usage/Efficiency/Variance/Platform/Domain - is the solo project of Dominic Goodman, a former member of Mosquitoes and currently one half of Komare.

The self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular/analogue synth setup, allowing for little in the way of excess or indulgence.

The results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown.

"The Original Motion Picture Soundtrack for the romantic drama, THE FAULT IN OUR STARS, features music from Ed Sheeran, Birdy, Charli XCX, Grouplove, Lykke Li and more! NO Sales Notes

In the film, Hazel (Shailene Woodley) and Gus (Ansel Elgort) are two extraordinary teenagers who share an acerbic wit, a disdain for the conventional, and a love that sweeps them -- and us – on an unforgettable journey. Their relationship is all the more miraculous, given that they met and fell in love at a cancer support group. THE FAULT IN OUR STARS, based upon the number-one bestselling novel by John Green, explores the funny, thrilling and tragic business of being alive and in love."

The next in the Undercover Lovers series from the wizards of editing, with lysergic renderings of some well-known pop/dance classics, just not as you might expect.

Number 5 features a steel band cover of an 80's classic (itself sampled on a 90's hip hop classic!) backed with the Balearic banger of the year; an edit of a rare 'Everybody's Gotta Learn Sometime' cover...

Limited pressing as usual, be quick!

Before we pack away the poppers for another year, let Red Laser take you for one last spin on the waltzers.
Tried and tested at our recent road block parties in Manchester, these edits shine a light on four primo-grade Italo face melters. Fervently excavated by Bosco over countless visits to Bel Paese and streamlined for the hydrofoil, with some extra added calories for the club.

Opener 'Destiny' tweaks and shudders under analogue arpeggios, dazzling Strat chops and cosmic bass interplay before dropping into a simply glorious female vocal that, thankfully, gets plenty of airtime before Bosco calls close. A track so close to perfection we had to make it longer.
'Flavio', up next - and half sung in Italian so we only know a bit of what she's on about - is another supreme slice of Italo disco from the upper echelons that Bosco snaffled between glugs of Barolo and a face full of worm cheese. Sure to instigate group hugs, 4AM declarations of love, tears of happiness and huge pelvic thrusts dependant on environment and inebriation.

The tingles continue on side B with another supernova burning bright across the stars. 'Newsin' introduces itself with a joyous marriage of marimba and synth before yet another vocal proves Italians really do, do it better when it comes to writing some of the catchiest hooks and choruses in the universe.
'Lace', featuring the record's only male vocal appearance, has a romantic, proto-goth-new-wave vibe; like if Robert Smith and Richard Butler had a chem-sex love child after a wild night in Baia Degli Angeli.

Not sure who the woman in lace is, but we'd defo like to see her down The White Hotel one night...

New label Ché Wax launches with a double header: Buzz / Raga.

‘Love Buzz’, originally released in 1969 on Shocking Blue's At Home, gained fame when Nirvana covered it as their debut single nearly 20 years later. The Ché Wax rework enhances its psychedelic drama with acid disco elements, making it a dance floor staple 55 years on.

On the flip, RAGA: In 1982, Indian musician Charanjit Singh fused traditional ragas with Roland TR303-driven disco in Ten Ragas To A Disco Beat, recognized as a precursor to acid house, predating Phuture’s Acid Tracks.

Ché Wax reimagines Ten Ragas with an electro beat inspired by early ‘80s New York music, bringing this hybrid version to vinyl for the first time.

One of the finest Brazilian jazz funk fusion albums ever recorded; thoroughly deserving of its cult status. First official reissue outside of Brazil.

Cesar Camargo Mariano is a celebrated Brazilian jazz pianist, composer and producer, born in Sao Paulo in the 1940's. He has played and worked with the likes of Elis Regina (to whom he was married at one point), Som Tres and Sambalanco Trio and still plays very regularly today.

'Sao Paulo Brasil' saw Mariano and co. step deep into jazz funk/fusion territory - and nail it. Tight, tough drum grooves, intricate arrangements, layers of synthesisers, percussion and FX transport and tell a story from the first beat.

For our second disc of ‘24, ONO returns to the club with ‘Tek Code’, a brilliant EP from exciting up-and-coming Boorloo artist, Beltrac.

Across five tracks, Beltrac serves up his fresh and considered sound. Spanning dubbed-out minimal rollers that hark back to the sleazy, smoke-infused tech-house of the late '90s and early 2000s. Into exhilarating excursions into frenetic drums and deep bass that display Beltrac’s penchant for rhythm construction and sound design. Setting the tone and tempo for Side B of the disc, Echo Response receives the remix treatment from Eora dub king Command D, who mutates the wonky bass chug of the Side A closer into a hazy after hours dub techno strider.

Combining careful attention to detail and excellent technical production with an undeniable sense of groove, Beltrac delivers a club ready EP that tickles our brain while keeping our body moving. Turn it up loud, this one’s for the late night crew.

"‘One of the most exciting composers alive.’ – Daily Telegraph

Nonesuch will release the original score for Ken Burns’s new two-part documentary, LEONARDO da VINCI, with new compositions by Caroline Shaw; the documentary airs on November 18 and 19 on PBS. The album features performances by the composer’s longtime collaborators Attacca Quartet, Sō Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score.

In celebration of LEONARDO da VINCI, New York City’s historic venue The Town Hall presents an evening of performances from Shaw’s score by Attacca Quartet, Sō Percussion, and Roomful of Teeth on October 29. The filmmakers will also preview excerpts from the four-hour film..

LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns’s first non-American subject. It also marks a significant change in the team’s filmmaking style, which includes using split screens with images, video, and sound from different periods to further contextualize Leonardo’s art and scientific explorations. LEONARDO da VINCI looks at how the artist influenced and inspired future generations, and it finds in his soaring imagination and profound intellect the foundation for a conversation we are still having today: what is our relationship with nature and what does it mean to be human?

“No single person can speak to our collective effort to understand the world and ourselves,” said Ken Burns. “But Leonardo had a unique genius for inquiry, aided by his extraordinary skills as an artist and scientist, that helps us better understand the natural world that we are part of and to appreciate more fully what it means to be alive and human.”

“To help give depth and dimension to Leonardo’s inner life, and to carry our viewers on his personal journey, we enlisted the composer Caroline Shaw,” McMahon says in the album’s liner note. “Caroline’s existing body of music—joyful, daring, at times transcendent, and wholly unique—seemed to speak directly to Leonardo, a seeking soul who, 500 years after his death, can come across as strikingly modern. A fully original score, we believed, would add crucial connective tissue to areas where the record of Leonardo’s life is thin and it’s possible to briefly lose his trail. The music Caroline created is dynamic, enthralling and filled with wonder.

“This soundtrack is a testament to the inspired efforts of Jennifer Dunnington, who marshaled it into being, the brilliant musicians and vocalists who, with the help of Alex Venguer, Neal Shaw, Colton Dodd and Tim Marchiafava, made it soar, and most of all Caroline Shaw, who might be Leonardo’s soulmate from across time,” he continues. “With her help, the Leonardo who emerges is no wizard shrouded in mystery, but a prideful, obsessive, at times lonely or flustered, occasionally ecstatic, and, in the end, content man who is in ways both modern and thoroughly of his time.”

“As we set out to explore Leonardo’s life, we realized that while he was very much a man of his time, he was also interested in something more universal,” said Sarah Burns. “Leonardo was uniquely focused on finding connections throughout nature, something that strikes us as very modern today, but which of course has a long history.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to three albums with Sō Percussion, Narrow Sea, Let the Soil Play Its Simple Part, and Rectangles and Circumstance, Nonesuch has released her two Grammy-winning albums Orange and Evergreen, both of which feature Attacca Quartet. “Two-Step” and “Ghost,” Shaw’s songs with Ringdown, her duo with Danni Lee Parpan, are available now on Nonesuch. Caroline Shaw is Wigmore Hall’s 2024-25 Composer in Residence."