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Rico started his career in the late 1950’s playing with the likes of Prince Buster, Laurel Aitken and Max Romeo as a session musician in addition to creating his own recordings. He moved to the UK in the early 60’s and continued performing live and playing as a session musician. He signed to Island Records in the 70’s, releasing his first solo albums.

In 1979 Rico met Jerry Dammers and began playing with The Specials. He became an honorary member of the band and featured prominently on some of their most famous tracks, along with Dick Cuthell, which produced a distinctive sound.

In 1980 he released his first album for the 2 Tone label, That Man is Forward. Produced by Dick Cuthell and recorded in Jamaica over two sessions in Joe Gibbs studio. The album is a celebration of Jamaican musicians playing together, with the likes of Jah Jerry, ‘Deadley’ Headley Bennet, Robbie Lyn, Sly & Robbie, Ansel Collins -the list goes on.

This new remaster celebrates its 40th Anniversary, originally released in March 1980, as part of the ongoing 2 Tone ‘40th Anniversary’ releases.

The package is a 3mm Spined Sleeve, 180gm Heavyweight Black Vinyl, printed inner and bellyband

Adopted Berliner hailing originally from the US, Kyle Geiger is not just an experienced DJ and producer, having already released on staple techno imprints Soma, Perc Trax and Droid, but also a budding production teacher via his Twitch livestream started during the first lockdown of 2020. When he’s not sharing knowledge about DAWs and shedding light on diverse voices in the music scenes, he also runs his labels Cubero and Front Left.

Across three techno excursions, collectively dubbed 'Bellhouse' and numbered 1 to 3, Kyle uses recurrent themes and motifs to craft intricate techno rollers in different forms. 'Bellhouse 1' stands out as a peak time dancefloor track, complete with heavy-hitting percussion, a dramatic lead and scintillating hi hats. 'Bellhouse 2' on the other hand comes off as a more subtle, restrained groove, whose nervousness can keep the energy high, while the third track can be found more on the dubby side, with metallic synths and mechanical whirs atop a steadily evolving marching bass. Hosts Rebar take on 'Bellhouse 2' giving it their own spin - distilling its fidgety atmosphere into a more anchored, mind-bending slow burner.

Ahead of their sophomore album, ‘Now is a Long Time’, subversive electronic-punk provocateurs Otzeki are unveiling the latest track, ‘Unthunk’, alongside a striking visual directed by Frankie Roberts. ‘Now is a Long Time’ is set to be released on 19th March 2021 via Akira Records. Singer Mike Sharp on the song: “Unthunk is a sardonic ‘maditation’ on pop. In terms of musical references, I was inspired by the kitschiness of Billy Joel’s ‘We didn’t start the fire’ after overhearing it at the Stapleton Tavern in Finsbury Park, I was also watching a bunch of music videos by the band Devo, Daft Punk, Throbbing Gristle and Kendrick Lamar. The seed grew out of a quirky drum loop Joel and I made using his TR8 drum machine, which gave the song a far slower vibe before Beni Giles later introduced vocoder and synths into the mix, taking it back to the 80’s.”

The same crew as the boundary pulsing improvisation record Bent
Arcana has made a trajectory shift and picked up Ben Boye along
the path. The aptly-named Moon-Drenched is the second installment
from these sessions and keeps a heavy-lidded late night perspective
on things as it eases from the somewhat familiar liminal twilight
of skittering hues of black-blue and snaking street groove, to
fizzing off into the ether in pursuit of lunar prism beams heretofore
unseen. The more rhythmically dialed bits here have a lysergic halo of
strangeness to them, and the wispy bits between are spun of iridescent
gossamer. It sounds like a frizzled message from a future just filthy
with guitar hoots echoing off of neon-splattered high rises, oil-slicked
waterways and skittering digital beasts. For Castle Face’s money this
is the strangest slice of this last bunch of John Dwyer and his crew’s
improvisations.

It took German metalcore vets, CALIBAN recording a cover of Rammstein’s “Sonne” to realize that their native tongue was a seamless fit with their time tempered collision of punishing riffs and Andreas Dörner’s urgent vocals. With fans hungry for the Essen-borne quintet to record an album exclusively in German, the band simply said: “Why not?” and “Zeitgeister” was born. 11 genre-defining LPs deep into their career, the band’s vision for the album came naturally – a career retrospective and deep-dive into CALIBAN favorites that haven’t had a live airing in some time. “It wasn’t an easy decision, but once we allowed us to make them as different from the originals as we felt it was needed it came fairly naturally”, explains guitarist and main songwriter Marc Görtz. Of course, some updating was necessary when it came to translating the songs to German. “It turned out to be surprisingly tricky,” says Dörner. “While I feel more at home with my native German it made it a lot more complicated, as I had more options to phrase something.” Formed in 1997, CALIBAN’s legacy has been a tireless one, touring the globe and sharing stages with the likes of Slayer, Kreator, Killswitch Engage and many more, “Zeitgeister” was a welcome homecoming. With the help of long-running producer Benjamin Richter (Moonspell, Emil Bulls and more) CALIBAN hand-picked seven tracks to bring new life to: “Trauma“ (feat. Matthi from Nasty, “Arena Of Concealment”), “Herz” (“I Will Never Let You Down”), “Ausbruch nach Innen“ (“Tyranny Of Small Misery”), “Feuer, zieh mit mir“ (“Between The Worlds”), “Nichts ist für immer“ (“All I Gave”), “Intoleranz“ (“Intolerance”). “Mein Inferno” (“My Little Secret”). “Zeitgeister” also boasts a new track, “nICHts”. “It’s a song about feeling disoriented and hopeless, about depression and feeling powerless. Feelings that many of us can probably relate to during these days”, says Dörner.

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.

The Running Man’, was composed by Harold Faltermeyer (Beverly Hills Cop, Top Gun, Cop Out, and the upcoming film Top Gun, Maverick).

The original (1987) 17 track album has been expanded to 35 tracks for this deluxe edition, which includes additional music and unreleased and alternate cues. The album was remastered by Chas Ferry from the original Paramount Pictures sources. The 2 LP gatefold package features original artwork created by Florian Mihr and includes images from the film and extensive liner notes by Daniel Schweiger on the inner sleeves.

In the year 2019, America is a totalitarian state where the favorite television program is The Running Man - a game show in which prisoners must run to freedom to avoid a brutal death. Having been made a scapegoat by the government, an imprisoned Ben Richards (Arnold Schwarzenegger) has the opportunity to make it back to the outside again by being a contestant on the deadly show, although the twisted host, Damon Killian (Richard Dawson) has no intention of letting him escape.

Larry de Kat joins Alexis Raphael’s recently launched Paella Hair Sex imprint with his debut EP on the label entitled ‘Radio K-Nip 4.20 FM’.

Utrecht-based DJ and producer Larry de Kat is a rising talent with releases on Slapfunk Records, Lazare Hoche, Ruff and his own Katnip imprint. The artist has built a diverse underground following with his eclectic but distinctive sound gaining support from the likes of Bicep, Mark Farina, Ben UFO and Subb-An. 'Radio K-Nip 4.20FM' explores Jazz, Hip-Hop, House and Funk, adding another impressive release to his growing catalogue.

Alexis has established himself as a critical figure within the house scene since rising through the ranks in 2011. His illustrious career has seen his material land on prestigious labels like Hot Creations, Mad Tech, Moda Black, Get Physical and Nervous, whilst remixing Disciples, Kim English, Tiger Stripes and Miguel Campbell. The recently launched Paella Hair Sex imprint is the beginning of a new chapter in the long-standing Deep House artist’s musical story. A return to vinyl in 2016 sparked the inspiration behind the vinyl-only label, now welcoming a heavyweight release from Larry de Kat this coming March.
Brief ‘cut and paste’ opener 'Tune In Turn On' features immersive drum loops, spoken word vocals and a classic flute sample, laying the way for the rest of the package. The sensational ‘J’ provides a feel-good Deep House affair, as a slick bassline sequence fuses with rising synth lines and soulful vocals to guide listeners on a hypnotic journey. The charming vibe continues on interludes - ‘The Spoiler’, ‘LoPass’ and ‘Zoned Out’ which showcase another side to the artists’ unique style, providing three stripped-back modern jazz affairs.

On the flip, Larry de Kat’s rework of Vanity 6’s ‘Nxsty Girl’ combines funk-infused melodies with taut bass guitar-riffs and loose percussion arrangements to keep the energy flowing. ‘Criminally Understated’ is a harmonic slice of old skool gospel and soul - sensual chords, soft keys and fluttering modulations rise through the cosmos, whilst the B-side interludes 'Lonnies Tune', 'Interloot' and Tribulations round out proceedings in style.

Recline Music founder Nicco (N.D) returns on the label this April, delivering his grooving single 'Lost Universe', accompanied by a remix from Javonntte. Florence native Nicco (N.D) is a long-standing player within the house music scene. Producing since the late 90s, he has previously performed as a singer and guitarist before joining forces alongside Ivano Coppola to launch their Recline Music imprint. He has worked with DJ T., Oxia, Clarian and many others, whilst releasing over one-hundred tracks and gaining support from Marco Carola, Joris Voorn and Steve Bug.

The remixer of this package is Detroit-based Javonntte. Since the early nineties, he has been producing music and has collaborated with legendary producers including Blake Baxter, Amp Fiddler and Andres in his formative years, whilst his solo releases have landed on Quintessentials, Traxx Underground and Kai Alce's NDATL.

'Lost Universe' is a glistening deep house track that effortlessly combines luscious chords with rising pads and blissful keys to transport listeners on a hypnotic journey. Javonntte's interpretation reveals a feel-good affair, as fathomless bassline sequences fuse with kinetic drum programming and dubby chords - wrapping up this enchanting offering in style.

BEN SIMS: Sweet remix from Javonntte!

DJ BONE: Funky! I love it

STACEY PULLEN: Solid Tracks

SHUR-I-KAN: Javonntte remix is nice and summery!

FRED P: Nice one..

KAI ALCE: Javonntte remix hard, deep & HOT!

PHIL DAIRMOUNT: Javontte remix for me

SPATIAL AWARENESS: Love the OG

TELFORT: Real nice ! :)

BILL BREWSTER: Original's nice.

CRAIG SMITH: Real nice Javonette remix

DIZ: Really Nice!!

FRED EVERYTHING: Very nice Javonntte Remix!

Self titled debut album from NOLA based indie psych rock band. Silver Synthetic is comprised of indie rock all-stars with members formerly from The Bottomfeeders and Jeff The Brotherhood. The mega talented musicians formed at a record store in New Orleans because of course they did. Summer 2020 EP from Silver Synthetic garnered playlist placements on Spotify's Indielandia and Fresh Finds Rock. Debut album Chiming, driving, relaxed rock & roll minimalism For fans of Television, T. Rex, The Velvet Underground, chooglin' 02/17 - Announce/Pre-Order w/ IG: In The Beginning + music video 03/17 - 2nd IG: Chasm Killer 04/07 - 3rd IG: Around the Bend 04/09 - STREET DATE w/ focus track: Around the Bend INDIE RETAIL PROGRAMS: Retailer Time Program Details Rough Trade US March 31 Transmission livestream Rough Trade US April 2021 US Edit Rough Trade UK April 2021 UK Edit Euclid NOLA March/April 2021 Mural PREX April 2021 banner Record Grouch Brooklyn April 2021 socials program Resident Records April 2021 web package, mail order flyers Piccadilly Records April 2021 web banner Drift Records April 2021 web package AIMS May 2021 Tier 1 Broadtime April 2021 Level 1 ads, listening stations, preorders Indie retail April 2021 Promo posters (x400)

Debut album, duo from Detroit which includes Chris Samuels of Ritual Howls 350 Units of limited cloudy clear/Bronze splatter colored vinyl Electronic, Industrial, Experimental music for Fans of Ritual Howls, Throbbing Gristle, Coil, The Legendary Pink Dots, Drew McDowall, Suicide, Cabaret Voltaire // Mission to the Sun synthesizes ambient, post-industrial landscapes with expansive arrangements and haunting vocals. Comprised of Christopher Samuels (synths, samples, programming) of Ritual Howls and Kirill Slavin (vocals), the Detroit-based duo creates an atmosphere of lamentation for a world left behind. Fragments of industrial noise and hypnotic synths fill Samuels' foreboding, alien terrain, and it's in this vastness that Slavin's voice mourns the drudgery of everyday life and the loss of universal consciousness. The duo's debut album, Cleansed by Fire, takes the listener on a journey home to the inferno of the sun, navigating memories of a life lived, dissolved into time. A wind of desolation opens "Take Me Back," with Slavin mourning for a return home to a distant reality. The song uses repetition to build a somber ambience while maintaining a spaciousness sparsely accented by noise with care and precision. Slavin's lyrics examine the conflict and paradoxes that riddle the human condition with Samuel's instrumentation providing a fitting backdrop. "The Unbroken Sea" illustrates this symbiotic reflection with a propulsive bass line contradicted by ethereal synths that swell and contract, only to be finally engulfed by a pulsating crescendo of rhythmic noise at the end. The dystopian title track "Cleansed by Fire" marches steadily along to a creeping darkwave rhythm. The basic elements of dance music are there, yet the song remains devoid of danceability. Punctuated by lyrics inspired by J.G. Ballard and technological isolation, a glimmer of pop sensibility can be found beneath the haze of the track's potent mood. Mission to the Sun beautifully captures an alien feeling: one ripe with despair and longing, one that doesn't quite belong to this world or time. A slow, satisfying burn, Cleansed by Fire traverses the dystopian past and present, while moving toward the future.

Vertaal first mixtape, Paradigm Shifting had a soft digital released on the 23rd April 2020, on Vertaal’s Empty Quarter Tribe imprint.

Self-produced, recorded and mixed in their own studio, the EP was nominated by Jazz Revelations for EP of 2020 and produced

four singles, ‘Polar’, ‘Duels, ‘Drop Off’ and ‘Dilla5’.


2020’s lock down led to a completely remixed and partial re-recording of the mixtape into a full, seamlessly mixed double LP with 6 additional

tracks and a further 6 musical ‘skits’ recorded separately by all the contributor musicians on the album during lock-down.
The limited edition numbered coloured vinyl 2LP will be released on March 26th 2021 supported by a fifth single, Alcazar b/w Husky on April 2nd

with promo video directed by Ben Sommers (Smoke No Pony Productions) whose previous credits include Mary Epworth, Archive, Young Knives and many others.



Vertaal have been an increasingly notable presence in the nu-jazz scene over the past 3 years.
Tipped as “ones to watch for 2019” by Jazz Re:freshed, Vertaal played an exclusive pick of sold out shows at prestigious venues such as Ronnie Scott’s, Pizza Express Soho and the Jazz Café.

They have also supported the likes of Mark Guiliana (David Bowie), & Pete Ray Biggin (Level 42) and finished off 2019 guesting for Richard Spaven at The Cambridge Jazz Festival.



Of the six tracks on the current mixtape, first single ‘Polar’ was played on the uber-cool Deeper Cuts show by DJ Karl Bos who described the track as an “incredibly produced record.”

Tony Minvielle (Jazz FM) urged his listeners to “…hunt this down. They’re making incredible music!” after playing two tracks from Paradigm Shifting on his show,

and the mixtape has garnered similar excited responses from many DJs and reviewers (press list below).



Paradigm Shifting will be released on March 26th. The shrink-wrap will be stickered with full information and press quotes.

Back in 2015, to celebrate the 50th anniversary of the BBC broadcast of Delia Derbyshire & Barry Bermange’s “Inventions For Radio: The Dreams”, The Eccentronic Research Council released their own super-limited edition cassette soundtracking the recalled dreams (and nightmares) of friends, artists, actors, musicians, scientists, poets and filmmakers. The release was called “The Dreamcatcher Tapes Volume 1”. Five years on, and with a large part of the planet under lockdown and with nowhere to go but within their imagination, the ERC put a call out once again to music collaborators, nurses, teachers, truck drivers, writers, journalists and shop workers to upon waking, record their dreams straight into their phones and to then send them to the ERC to soundtrack. And thus, Volume 2 of The Dreamcatcher Tapes was born!

How did you make the album during lockdown?
“We got around 26 dreams sent to us via email over the space of a couple of weeks then Dean Honer my partner in The ERC and I revved up the old analogue equipment and would record music and collage sounds to the dreams (remotely) from our home recording studios and bounce them back and forth to each other till they were done. It was a really good way to work actually, sometimes I didn’t even have to put on any trousers!” says ERC/ Moonlandingz founder Adrian Flanagan. Why a second volume of The Dreamcatcher Tapes? “I was really interested to see how the enforced lockdown and the removal of people’s basic needs such as human contact and hanging out in close proximity to friends was affecting the dreams of my friends, peers and those at the very front line of this horrible pandemic”, Adrian continues. “The Important shared experiences for people’s mental health such as going out to gigs, the pub, the cinema etc. ”It was an interesting experiment. Nurses dreaming of inadequate PPE and having to use blow up Elvis costumes to protect themselves. Teachers dreaming of zombies and lots of people dreaming about sex - where the hair of Greek sorceress’s Circe meets bouncy castle breasts and where other dreamers dream of serial killers or seeing dead family members, or taking baby elephants for a walk, or having discos for one in the middle of the ocean and so much more. I’m really proud of this record. It’s psychedelic in its truest most cerebral form”

Who’s on “The Dreamcatcher Tapes Volumes 1 & 2”? Who are the dreamers?
“Although our long time collaborator Maxine Peake wasn’t on the very first tape (her dream ended up on LTD edition split 7” ERC single we did with Pye Corner Audio) - she was the first dream that we soundtracked when I came up with the idea of doing the concept record. However, on the new vinyl and tape box set - she opens volume 1. Across the 2 volumes there’s film maker Carol Morley, Andy Votel from Finders Keepers records, John Doran from The Quietus (who also wrote the albums brilliant sleeve notes), acclaimed writers Benjamin Myers & Adelle Stripe, musicians such as Evangeline Ling from the group Audiobooks, Lias Saoudi from my ‘semi fictional band’, The Moonlandingz and fat white family, Sidonie from The Orielles, journalists /writers Wyndham Wallace (he wrote lee Hazelwood’s brilliant biography) and Daniel Dylan Wray amongst a whole array of musician friends, eccentrics and people with actual proper jobs!”

Why did you chose Castles in Space for this release?
“Jim Jupp at Ghost Box records suggested them to me so I looked into them and saw they were doing loads of really great strange little bespoke electronic record releases. I think that because this is a very niche limited run release, it required a label that was willing to treat it like a piece of art and not a throwaway mass produced commodity. So making sure the packaging was special, the artwork was bang on point and the sleeve notes were written by a writer we like all were very important to us. “It was also important that we could turn it around from the finished recording to being in people’s hands really quickly as Dean and I have another ten projects between us on the boil - and so far, Castles in Space have been true to their word. It’s an artists label done with love and there’s not many of them about anymore - believe it or not.“

“The Dreamcatcher Tapes Volumes 1 & 2” is an immense collaborative achievement which makes for a thoroughly compelling, and gloriously disorientating listening experience.

It is released as a double coloured vinyl LP in deluxe gatefold sleeve w/insert and a highly limited deluxe double cassette box set. The album is released on March 19th, 2021.

Tape

After tapes on Steep Gloss and Cruel Nature, we are happy that Stuttgart-based collective Zebularin join the OM family with their new release “Hermetic Topography“.

The album, a product of weekly recording sessions between March and July 2020, just when the pandemic slowed a bit down, might be the closest approach to what communal experiences sounded throughout 2020. It‘s a bold design of how collective improvisation can work in the post-covid era.

The first minute of „Budenzauber“ sets the tone for the whole record. Synth waveforms get joined by a drumset, both settling into a vivid conversation between digital noise and analog free jazz, finding a shared rhythm for this journey.

Daniel Vujanic, known to some from his recordings with Höhlenmusk Ensemble, Ixtar or E Jugend and the driving force behind Zebularin, had this urge to layer electro-acoustic solo material, synths, prerecorded audio meditations, without bending the sounds into detailed harmonic structures, but to build up dense, morphing atmospheres. In came Daniel Kartmann, a combatant in many of Vujanic‘s musical endeavours, his percussions, wind instruments and some deep musical talk - from obscure black metal to brazilian psychedelica, from Scott Walker to Gustav Mahler. The duo laid down basic tracks, kept arrangements vague, creating a perfect environment for a range of other players and instruments to walk in: piano, woodwinds, electronics, ebowed guitars and a vibraphone. The resulting record is a tender, affectionate take on jazz and electroacoustic composition. One can hear the routine of the involved cast as well as the fun, deep listening and correspondence that took place; even though this album was not recorded live in big-band-style, musical ideas interlock on an intuitive level and complement each other.

Take „Peljuga“ as a perfect example, a loosened jazz improv reminding of The Notwist‘s more psychic enhanced moments, which blends into a conversation between a contact mic and heavily manipulated synths and turns into a minimalist piano composition, which melds into a climactic peak and is interrupted only to rise again. And as complex as this description sounds, as uplifting is the actual song. Or the album‘s last track, „Holmen“, which starts out as an underwater ambient piece and evolves pretty organically into cosmic power electronics.

Despite its name and the Heideggerian flair of some song titles, „Hermetic Topography“ is all but hermetic. It‘s rich in musical colours without melting into a quagmire of maximalist noise. It‘s sophisticated but never top-heavy. It might be one of your favourite tapes of 2021.

PHILLIP BALLOU Pittsburgh-born Phillip Ballou’s earliest years were spent in the gospel field; after he moved to New York City in the ‘70s, he teamed up with Bennie Diggs and Arthur Freeman, founding members of The New York Community Choir and singer Arnold McCuller to form the group Revelation. The quartet recorded for RSO Records, scoring some R&B success in the US with tracks like “Get Ready For This” and “You To Me Are Everything,” touring the Bee Gees among others. Phillip also sang on albums by NYCC recorded for RCA Records and continued with Revelation until 1982. Frequently hired for sessions in and around New York, Phillip teamed up with UK soul music journalist David Nathan (who he’d met in 1974 during Nathan’s first US visit) and John Simmons, formerly a member of The Reflections, another New York vocal group to write a series of songs for his own proposed solo record deal. Although a contract did not materialize, one of the songs – “Ain’t Nothing Like The Love” – got some interest from famed Philadelphia producer Thom Bell who presented it to The O’Jays. Ultimately, the tune was turned down by Kenny Gamble and John Simmons, by then musical director for Stephanie Mills, recorded his own version for a small independent label in 1981. Phillip continued his own musical journey, touring and recording with James Taylor and Todd Rundgren. In addition, Phillip’s name graced recordings by George Benson, Billy Ocean, Kashif, Nona Hendryx, Jonathan Butler, Teddy Pendergrass and Melba Moore; in 1981, he began recording with Luther Vandross and became a part of Luther’s touring band for many years, as well as singing on productions by Luther on Aretha Franklin, Dionne Warwick and others, continuing his association with him until Luther’s 2003 stroke. Phillip returned to his gospel roots in 2004 as Minister of Music at a Brooklyn church and passed away in March 2005, aged 55 .We are proud to bring you Phillips second single on Super Disco Edits, and perhaps his best! "We'll be together" is an uplifting song with an almost gospel tinged melody. But the songs lyrics portray a love thats just about to blossom.

Delicate Sound Of Thunder encapsulates a band at their best. Alongside the classic live album and full concert film (restored and re-edited from the original 35mm film and enhanced with 5.1 surround sound), included in The Later Years box set, all stand-alone editions feature 24-page photo booklets, with the 4-disc box edition including a 40-page photo booklet, tour poster and postcards. The 3-LP 180-gram vinyl set includes 9 songs not included on the 1988 release of the album, while the 2-CD includes 8 tracks more than its original release.

In 1987, Pink Floyd made a triumphant resurgence. The legendary British band, formed in 1967, had suffered the loss of two co-founders: keyboardist / vocalist Richard Wright, who left after sessions for The Wall in 1979, and bass player and lyricist Roger Waters, who had left to go solo in 1985, soon after the 1983 album The Final Cut. The gauntlet was thus laid down for guitarist/singer David Gilmour and drummer Nick Mason, who proceeded to create the multi-platinum A Momentary Lapse Of Reason album, a global chart smash, which also saw the return of Richard Wright to the fold.

Originally released in September 1987, A Momentary Lapse Of Reason was quickly embraced by fans worldwide, who flocked to attend the live tour dates, which started within days of the album’s release. The tour played to more than 4.25 million fans over more than two years, and, as a celebration of the enduring talent and global appeal of David, Nick and Richard was unsurpassed at the time.

Filmed at Long Island’s Nassau Coliseum in August 1988 and directed by Wayne Isham, the 2020 release of the Grammy Award nominated Delicate Sound Of Thunder is sourced directly from over 100 cans of original 35mm negatives, painstakingly restored and transferred to 4K, and completely re-edited by Benny Trickett from the restored and upgraded footage, under the creative direction of Aubrey Powell/Hipgnosis. Similarly, the sound was completely remixed from the original multitrack tapes by longtime Pink Floyd engineer Andy Jackson with David Gilmour, assisted by Damon Iddins.

Pink Floyd’s stellar supporting cast for the live dates included: Jon Carin (Keyboards, Vocals), Tim Renwick (Guitars, Vocals), Guy Pratt (Bass, Vocals), Gary Wallis (Percussion), Scott Page (Saxophones, Guitar), Margret Taylor (Backing Vocals), Rachel Fury (Backing Vocals) and Durga McBroom (Backing Vocals).

Technical credits include: Film Producers: Curt Marvis and Carl Wyant; Director of Photography: Marc Reshovsky; Lighting Designer: Marc Brickman, with conceptual footage directed by Storm Thorgerson, except ‘Money’ directed by Storm Thorgerson, Barry Chattington and Peter Medak. Animation on 'Time' was by Ian Emes.

Okocha Records sendet Grüße aus „Jazzenatico“ und nimmt euch mit auf eine musikalische Reise an der italienischen Adria entlang. Nehmt euch eine kurze Auszeit und genießt den sonnigen Tag am Strand von "Jazzenatico" mit harmonischen Melodien und warmen, jazzinspirierten Instrumentals von u.a. FloFilz, Wandl, Wun Two, Twit One, digitalluc, Melodiesinfonie uvm.

From label owner Terry Cole, "It was on March 16, 2020 that we closed up our storefront as the reality of a worldwide pandemic began to spread across the Midwest. We had no idea how it was going to impact our shop, our label, or the artists we represent. We were all fortunate to have our family members stay safe and healthy; however, the livelihood of many of our friends and artists were drastically and immediately impacted. No tours, no live performances, record shops closed, pressing plants shut down, etc. And while the level of uncertainty was unnerving, from that uncertainty came the idea for Brighter Days Ahead. We knew we wanted to continue to release new music, but proceeding with our heavy 2020 release schedule as planned seemed ill advised. So the idea was to release individual tracks from many of our artists on a weekly basis and as a musical family, we could all help shine light on each individual artist weekly. Strength in numbers! So throughout the summer and into the fall, that's what we did. We released several dozen tracks and the weekly announcements certainly garnered a strong sense of community for our artists and fans alike. We're very proud to present Brighter Days Ahead: a compilation from our talented stable of artists on both our Colemine and Karma Chief imprints."

Mason Bee is the solo project of Benet Walsh, multi-instrumentalist producer based in the Welsh Marches, best known as long-term co-writer and touring partner with U.K. electronic duo Plaid (Warp Records). His debut album ‘Play Flights’ is a brilliant patchwork of diverse influences, from choral folk mantras to modern glitch guitar sounds and beyond. If you hear live instrumentation on a Plaid track, it’s often Benet. His writing relationship with the iconic Warp duo dates back to the early days and has spawned some of the most evocative and heartfelt electronic music of our times.

Now as Mason Bee, Benet invites us into his own sonic universe, drawing on psychedelic, electronic and folk sounds to produce something quite different. There’s a narrative feel to the songs which unfolds to reveal morphing organic forms and technicolour landscapes, realised through a rich blend of acoustic instruments, phone recordings and DIY studio techniques. Although masonry

bees are solitary by nature, this album was recorded with the help of an international cast of musicians, from Australia and Portugal to the Welsh Marches of the U.K. adding considerably to the album’s richness. The title itself refers to the first outings (or Orientation Flights) of bees, making ‘Play Flights’ a fitting name for this unique debut.

After much anticipation, UK-talent Ben Westbeech returns under his Breach moniker next February. Serving up the long-awaited Sun Salutations on André Hommen’s These Eyes imprint, the EP marks his first release under the alias since 2018, and features Dekmantel mainstay Cinnaman on the second track. The ethereal sound of Sun Salutations sets the feel of the release, as progressive synths reside atop a distinctive kick-hat backbone. We’re soon graced with an enchanting mid-track breakdown, paving the way for a tribal-leaning bassline and dreamy, flute-like chords. New Horizons feat. Cinnaman brings things to a gentle close, as warm keys converge on reverberating vocals to form a soothing, slow-building cut that’s perfect for sunrise, sunset or anywhere in between. Ben Westbeech AKA Breach is no stranger to the scene. Cutting his teeth on Gilles Peterson’s Brownswood Recordings, it was in 2013 that Claude Von Stroke picked up Breach’s Jack EP for a release on his iconic Dirtybird imprint, the likes of which charted at number nine in the Official UK Top 40 Chart. Since then, the UK-talent has refocused his attention on the underground, launching his Naked Naked label as well as producing standout productions for the likes of Crosstown Rebels, Ninja Tune, Aus music and many more besides. André Hommen's These Eyes has cemented its standing as one of Germany’s leading labels, with the likes of Tlak (Denis Horvat), Marc Romboy and Jonathan Kaspar finding a home on the imprint in recent times. Refusing to be pigeon-holed by genre or style, Breach’s debut highlights the eclectic sound through which the label has become best known, a testament to the vision of label-founder Andr é Hommen.