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Das legendäre Debütalbum 'Kingston Journey' (2019) eines der besten Soundsystems der Schweiz und Europas, Little Lion Sound, ist eine Odyssee, die den Hörer auf eine faszinierende Reise durch das Herz und die Seele der jamaikanischen Musik mitnimmt. Jeder Titel ist eine Hommage an das reiche Erbe von Reggae und Dancehall und zeigt die beispiellose Fähigkeit dieser Formation, diese Genres mit Finesse zu vermischen und zu kuratieren. Feat. Capleton, Junior Dread, Brother Culture, Micah Shemaiah, u.a.

Ultimo Tango (Milan) & Glossy Mistakes (Madrid) are thrilled to announce the release of "Tribal Organic: Deep Dive into European Percussions 79-90", a compilation of otherworldly percussion-driven tracks, digging deep into this unknown realm of a past era.


Compiled by Luca Fiore and Glossy Mario, the album takes listeners on a rhythmic journey through the diverse sounds of Europe from 1979 to 1990. This collaboration between two like-minded labels highlights forgotten recordings from across Europe, including works by artists from France, Spain, Germany, Italy, Austria, the Netherlands...
Opening with the ethereal “Rainforest” by British female duo Ova, this collection weaves together nine tracks from artists who were deeply influenced by global percussion traditions. With hints of jazz, new age, gamelan, and West African rhythms, these tracks feature instruments like congas, tablas, and shekeres, and reflect a shared fascination with the organic beat of the drum.
From the industrial-meets-African grooves of Jean-Michel Bertrand’s “Engines”, to the hypnotic accordion and tribal chants of Cuco Pérez’s “Calabó Bambú”, the compilation offers a cross-cultural listening experience that is both meditative and invigorating. Despite creating these works in isolation during the last years of the Cold War, each artist was inspired by a borderless world of sound. The compilation pays homage to these nomadic musicians who respected the traditions they drew from, while contributing their own experimental takes on percussion-led music.
In Tribal Organic, Glossy Mario and Luca Fiore have unearthed a treasure trove of rhythm-driven tracks that blur the lines between nations, genres, and cultures. This compilation offers more than just music; it’s a listening experience that is both spiritual and grounded—bold, exploratory, and deeply rooted in the beat of the Earth

Rolf Kühn war einer der deutschen Jazzmusiker von Weltformat und hinterlässt mit "Fearless" sein letztes Studioalbum. 2022, wenige Wochen vor dem Tod des Musikers in den Berliner Hansa Studios aufgenommen und 2023 mit Streicheraufnahmen des Cuareim
Quartet ergänzt, zeigt der Ausnahme-Klarinettist, warum er von Kritiker Bert Noglik als ein Musiker der Königsklasse angesehen wird.
Auf "Fearless" fi nden sich sieben eigene Kompositionen Kühns sowie drei Coverversionen, die zusammen mit seiner Band um Frank Chastenier (Piano), Lisa Wulff (Bass) und Túpac Mantilla (Drums, Percussion) aufgenommen wurden. Die balladesken, aber auch die schnellen, vorantreibenden Kompositionen von Kühn lassen stets Freiräume zu für das, was für ihn den Jazz ausmachte: die Musik gemeinsam entstehen zu lassen, fl iegen zu lassen in einer sich im Zuhören und Fühlen entwickelnden Improvisation. Ein musikalisches Testament von immenser Strahlkraft.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

On this new LP Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical" and "factory like."

Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures.

"Mechanization" is just one of the many sonic directions Bertoia took while composing and recording between the late 1950's and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn.

Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone – a point he made himself many times in interviews.

Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a greater logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Belgian independent label De:tuned, founded by Ruben Boons and Bert Hermans, celebrates its 50th release with the long-awaited 10-track studio album 'Analog Days' by Swedish electronic music pioneer Robert Leiner. During the first years of De:tuned, Robert Leiner (aka The Source Experience) played a vital part in kick-starting the label. He also graced the De:tuned parties with his outstanding dj sets and captivating live acts.

Continuing the label's 15th anniversary celebrations, De:tuned and Robert Leiner mark the occasion with an extraordinary collection of mostly hardware productions recorded between 2005 and 2015. These diverse jams have now been mixed and completed for this momentous milestone. On offer a unique interplay of rhythmic movement and soothing sounds, each presenting Robert's distinct characteristics. Enjoy the trip. It has always been there, you just have to discover it!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Belgian independent label De:tuned, founded by Ruben Boons and Bert Hermans, celebrates its 50th release with the long-awaited 10-track studio album 'Analog Days' by Swedish electronic music pioneer Robert Leiner. During the first years of De:tuned, Robert Leiner (aka The Source Experience) played a vital part in kick-starting the label. He also graced the De:tuned parties with his outstanding dj sets and captivating live acts.

Continuing the label's 15th anniversary celebrations, De:tuned and Robert Leiner mark the occasion with an extraordinary collection of mostly hardware productions recorded between 2005 and 2015. These diverse jams have now been mixed and completed for this momentous milestone. On offer a unique interplay of rhythmic movement and soothing sounds, each presenting Robert's distinct characteristics. Enjoy the trip. It has always been there, you just have to discover it!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Phenomenal ambient explorations from the talented French electronic producer

Music taken from the artistic performance led by visual artists Mark Pozlep and Maxime Berthou.
The new compositions by French electronic producer Julien Jabre illustrate the stunning visuals of the Franco-Slovenian duo.
Julien Jabre’s Soutien De Famille sees him exploring the subtle gaps and nuances of his past work, crafting ten tracks of low-lit ambient textures and non-percussive rhythms.
A deeply introspective listening experience, Soutien De Famille unfolds at times like the breathless pause before a storm’s fury, and at others like the serene hush of meditative calm, where time itself lingers in a quiet wave.
It's as if Julien Jabre’s compositions whisper the promise of clarity after chaos where every note breathes reflection into the vast expanse of possibility.

Limited Edition - 300 copies.

Teslasonic is the solo project of Gianluca Bertasi, who delivers a fine blend of Electro, Italo, Acid, Downtempo and atmospheric elements, featuring a mesmerising remix by the legendary DJ Overdose. Libero Pensiero translates directly to ''free thought''. That's exactly how you should approach this six-track EP. Each track stands on its own, yet together, they form a cohesive narrative of creative freedom. Teslasonic makes his second appearance on Tiger Weeds with Libero Pensiero EP, following his contribution on the label's first VA compilation.

Orchestre Tout Puissant Marcel Duchamp’s latest album, “Ventre Unique”, is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra’s ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music.

Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet’s simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars.

Ventre Unique is the group’s sixth album and follows their acclaimed 2021 release, “We’re Ok But We’re Lost Anyway”. While their previous work captured the disarray of the world during the pandemic, “Ventre Unique” reflects on shared human experiences, inviting listeners to find common ground through music

2024 Reissue

"Still Smiling" is the first album of songs written in four hands by Teho Teardo and Blixa Bargeld; a work conceived and composed over two years, with dedication, working side by side, deciding and choosing every sound, every word, every silence together. The album, contains 12 songs: 10 previously unreleased, a new version of "A Quiet Life" and the cover "Alone with the moon" by Tiger Lillies. On the album, recorded between Rome and Berlin, in Teardo"s Rome studio and in Einstürzende Neubauten"s "Andere Baustelle" (the historic band of which Bargeld is leader), cellist Martina Bertoni and the Balanescu 4et collaborated. Teho and Blixa dialogue in symbiosis, Blixa"s deep and intense singing ranging from Italian to English and German, Teho"s music sublimating and enchanting between strings, electronics and experimentation. The maturation of ideas and intentions, in the numerous journeys between the two capitals, the desire, listening and meeting of their respective expressions, have left their mark. Still Smiling is a record that gives time, it is a privileged vision that covers all the sky between Rome and Berlin. The collaboration between the two artists began in 2009 for "Ingiuria", a performance by Raffaello Sanzio"s "Societas" that featured Alexander Balanescu on stage in addition to Bargeld and Teardo. In 2010, Bargeld and Teardo collaborated again to record A Quiet Life, the title track of the soundtrack of the film "A Quiet Life" with Toni Servillo. After these two experiences, a strong understanding and artistic affinity was born, which has led to the genesis of "Still Smiling".

Pedro Bertho, following the positive reception of his debut
album Mêlé, which features notable tracks like "Tigueretá"
and "Jour 4"—both frequently highlighted in Boiler Rooms
and sets around—has launched his own label, Chez Pedro.
Dedicated to consistently releasing new music, the label
plans to unveil monthly tracks, showcasing Bertho's ongoing
creative drive and deep passion for music without
distinctions of genre. His latest offering, Starlit Craves,
compiles tracks curated over the past two years. Previously
unreleased, these tunes have been meticulously crafted for
the dance ­oor. Each track on this EP re­ects Pedro Bertho's
distinct style and artistic vision, guiding listeners through an
immersive and exhilarating musical journey. Let Me Tell You:
Infused with electro vibes and in­uenced by Detroit’s rich
musical legacy, this track blends intricate rhythms with
soulful melodies, delivering a captivating sonic experience.
Blue Hot Monday: A hypnotic techno odyssey where
pulsating beats merge with deep bass grooves, creating an
enveloping atmosphere that lingers long after the music
ends. Shaved: A dynamic fusion of house and techno,
pulsing with rhythmic intensity and layered textures, inviting
listeners on a groove-driven exploration. Rouya: Radiant
melodies and hypnotic rhythms transport listeners to a sunlit
realm, intertwining uplifting harmonies with intricate sonic
nuances seamlessly. Have You Ever Played in Abidjan:
Exploring percussive intricacies and dub-infused textures,
this track offers a captivating blend of rhythmic diversity andatmospheric depth, evoking vivid imagery and immersive
storytelling.

Beloved tenor Andrea Bocelli, the most celebrated classical singer in modern history celebrates his 30th anniversary as a global icon with a brand new album Duets – 30th Anniversary. This new definitive career-spanning collection features all the classic duets with Ed Sheeran, Céline Dion, Sarah Brightman, Dua Lipa, Matteo Bocelli, Stevie Wonder, Jennifer Lopez, Laura Pausini, Giorgia, Christina Aguilera, Veronica Berti, Lang Lang, Ellie Goulding, Edith Piaf, Ariana Grande, Mary J Blige, Cecilia Bartoli, Katharine McPhee, Alison Krauss, Bryn Terfel, Mary J Blige alongside brand new superstar collaborations with Shania Twain, Chris Stapleton, Gwen Stefani, M° Luciano Pavarotti, Marc Anthony, Lauren Daigle, Matteo Bocelli & Hans Zimmer, Karol G, Sofia Carson, Elisa & Virginia Bocelli. Andrea Bocelli - 30 years of bringing people together.

The Funeral Portrait stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalised or otherwise given an unfair hand in life. To offer a sense of community, a place to belong and a space where they can feel safe and accepted for their differences. The band members all grew up as 'the weird kid' who was saved by music and alternative culture, so they now feel obligated to return this favour to the younger generation. This message is shouted to the masses through their over-the-top theatrics and dramatic, almost blown out presentation. The Funeral Portrait believes in the power of Devotion to their Music and to their unwavering fanbase, The Coffin Crew. The ritual is beginning and they want everyone involved. Join them to share your devoutness; excuses for not attending are forbidden.

Der Saxofonist Phillip Dornbusch hat sich mit seiner Band Projektor vorgenommen, die Aufmerksamkeit des Publikums auf Musik zu lenken, die in Momenten entstand, in denen sich Menschen in Vergangenheit und Gegenwart nicht in einer Demokratie, nicht in Freiheit befanden. Die meisten Stücke auf dem dritten Projektor-Album, das den Titel Revolt trägt, speisen sich aus Liedern, die in Iran und Estland entstanden sind und während der Aufstände gegen das sowjetische Regime beziehungsweise die Islamische Republik gesungen wurden. Das Zusammenspiel der fünf Musiker:innen hatte schon auf den beiden Alben "Reflex" (2021), sowie auf "Re|Construct" (2023) etwas traumwandlerisch-sicheres. Johanna Summer, Johannes Mann, Roger Kintopf und Philip Adrian Dornbusch organisieren sich um meist vom Saxophon Dornbuschs getragene Melodien und Themen, weichen ab und kehren wieder zurück, um ein anderes Instrument, eine andere Idee, eine andere Klangfarbe in den Vordergrund treten zu lassen. Dieses Zusammenspiel hat auf Revolt das nächste Level erreicht.

Sexe Fort is the seventh studio album by Patricia Kaas. With this album, the singer has maintained her status as one of the most important chansonniers of her generation. The album is notable for its many collaborations with important French singers and songwriters such as Jean-Jacques Goldman, Stephan Eicher, Pascal Obispo, Patrick Fiori, Louis Bertignac and Renaud. The album was a huge success in Belgium, France and Switzerland and had "Où Sont Les Hommes" as a popular single. This is the first time the album has been released as an LP. Sexe Fort is a limited edition of 1000 numbered copies on white coloured vinyl.

Black Vinyl. In Rumi's poem A Great Wagon he writes of a place of total acceptance. "Out beyond ideas of wrongdoing and rightdoing, there is a field. I'll meet you there," It is a boundless, liminal space where we can release the judgments we make and carry of ourselves, and the comparisons to others. When we think of this field, there is a sense of tranquility that only comes when we are undisturbed by the shadow self and see existence as neither bright nor dim, white nor black. But as lead singer Greg Bertens explains, arriving there is a whole different story. "This is a poem I've returned to over the years, and I love the idea of this place, but getting there is life's journey." Bertens adds "I think the longing for and elusiveness of this field is a recurring theme in our music." Field is enveloped by themes of regret, disconnection and frustration but with the space to understand that these feelings are a natural part of the struggle between reconciling the inner and outer self. The Los Angeles/San Francisco-based group have been indie shoegaze stalwarts since their formation in 2001. After two decades and a handful of line-up changes, their extensive discography presents a dynamically textural, lush psychedelic rock that has featured guest appearances by members of Pavement, My Bloody Valentine, and Snow Patrol, among others. 2021's LP We Weren't Here (Sonic Ritual) was hailed for its dense instrumental blanket, where unrelenting hi-hats and heavy kicks exist alongside dreamy drone guitar. This propulsive nature permeates Field, as members Bertens, Noël Brydebell (vocals), Nyles Lannon (guitar), Jason Ruck (synths), Justin LaBo (bass), and Adam Wade (drums) produce a kaleidoscopic sonic landscape. Patient, sprawling instrumentation builds a foundation in which Bertens' themes of endurance, perseverance and clarity can bloom with a considered poise. As a lyricist who writes in response to the instrumental arrangements, rather than a focus on a specific theme or person, Field is a testament to Film School's ability to create in the moment, and to showcase the magic that stems from when we are truly present. With over two decades in the industry, Field cements Film School as a distinct, dominant force in the shoegaze scene. Soaked in an emotionally open, imaginative atmosphere, the album is both singular and expansive, and leaves the door open for a constantly evolving interpretation. Film School have never confined themselves to the rigidity of specifics, and it's on Field that they urge us to look beyond the binary of certainty, and to take a second look.

Following the release of "Sacred Love" second album by Galathea, Massimo Napoli as he already did for the acclaimed "Samba De Sausalito" offers us 4 totally unreleased tracks released by Space Echo in a single 12" "Ancestral EP".

Mystical and hypnotic atmospheres for "Ancestral" and "Karimabao" an addictive alchemy between African rhythmic elements and contemporary pulsating electronic sounds, in a unique mix suitable for the most sophisticated dancefloor.

Afrobeat groove for "Africa Carnival" which however captures the essence of the Brazilian spirit infused with sensitivity between jazz and funk masterfully performed by Mario Pappalardo on keyboards and not surprisingly reminds us of the famous "Jazz Carnival" by José Roberto Bertrami of Azymuth.

Closing The EP is the track "Sacred Club" an invitation to dance and clapping for a more moderate dancefloor, offers us micro elements of sacredness and mysticism of the African continent.

Enjoy!!!!!

Imaginative re-workings and improvisations by Andrew Tuttle of the late great Michael Chapman's unfinished instrumental album. Sonic explorations that bridge the Southern and Northern Hemisphere via the Caribbean, remote Northumberland and sub-tropical Australia. Navigating calm seas and turbulent waters of ambient corals, new-age pirates, waves of lapping banjos and drifting eroding guitars.
When Michael Chapman passed away in September of 2021, at the age of 80, he did so – as he spent much of his life – as both a pioneer and a legend. A veteran of the British blues/folk/jazz scene, Chapman emerged in 1966 and continued working throughout his life, always pushing the boundaries of his creations while collaborating with a slew of similarly heralded musicians along the way: Bert Jansch, Mick Ronson, Elton John, Thurston Moore, Steve Gunn; to name just a smattering of those he worked alongside over the years.
It's the latter of those – Brooklyn guitarist and songwriter Steve Gunn – who Chapman flourished alongside in recent years, the two collaborating on 50 and True North, two of Chapman’s final and finest records. It was through that friendship that Chapman’s music found Andrew Tuttle, the Brisbane-based multi-instrumentalist who has toured Australia several times alongside Gunn.
In the aftermath of Chapman’s passing, his partner Andru discovered Tuttle’s Fleeting Adventure LP, describing it as “one of the albums that kept me sane during that first brutal winter on my own.” The pair met in Australia shortly after, and before Andru had even made it back home to the north of England, Tuttle had begun working on the recordings she shared with him at that time. Those recordings were part of a project Chapman was working on at the time of his death, called Another Fish – what would have been a companion piece to his previously-released LP, simply called Fish.
Though Chapman had spent time in his local studio playing all the guitars, layering the different sounds and effects, he’d always intended to do much more work on the songs, however fate had its way and he never got to ribbon-bow those ideas and bring the album to its conclusion.
Though there was little intention in terms of how to finalise the project, Tuttle spent valuable time with those recordings. What materialised, eventually - with time, care, and diligent attention - is a two-disc set Another Tide, Another Fish, something both unusual and completely distinctive. The first disc, Another Tide is centred around Tuttle’s own work, which shaped all seven of Michael’s songs and ideas into new songs of their own, and the second disc which simply incorporates the recordings that Michael left behind.
“On all of the tracks I also ‘played along’ on banjo to the originals several times until I learned an approximation,” Tuttle continues. “This ended up resulting in a ‘hybrid’, where some works are easily identifiable to those who know Michael’s originals, and some took that inspiration to head altogether elsewhere. Each of the tracks, even where not obvious, does have at the very least a trace element sample of the original recordings so that it’s a true collaboration.”
What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes. Perhaps Tuttle’s greatest achievement here then is that Another Tide sounds so effortlessly free of all this context.
Whether you know Michael’s, Andrew’s or even Andru’s story or not, these recordings will bristle with enchantment and intrigue, worlds are built, and while some thrive and grow, others fizzle out in a burst of light, such is the way. “It's been a long, long road but we got there and I think it's been more than worth it,” Andru says in the record’s liner notes. “I really hope you think the journey was worth it too.”
Guitars and effects by Michael Chapman recorded by Alex Warnes at Phoenix Studio, Brampton, Cumbria, 2017 Banjo, effects and edits by Andrew Tuttle at Bella Vista, Brisbane / Meanjin, 2023-2024

The Funeral Portrait stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalised or otherwise given an unfair hand in life. To offer a sense of community, a place to belong and a space where they can feel safe and accepted for their differences. The band members all grew up as 'the weird kid' who was saved by music and alternative culture, so they now feel obligated to return this favour to the younger generation. This message is shouted to the masses through their over-the-top theatrics and dramatic, almost blown out presentation. The Funeral Portrait believes in the power of Devotion to their Music and to their unwavering fanbase, The Coffin Crew. The ritual is beginning and they want everyone involved. Join them to share your devoutness; excuses for not attending are forbidden.

The Funeral Portrait stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalised or otherwise given an unfair hand in life. To offer a sense of community, a place to belong and a space where they can feel safe and accepted for their differences. The band members all grew up as 'the weird kid' who was saved by music and alternative culture, so they now feel obligated to return this favour to the younger generation. This message is shouted to the masses through their over-the-top theatrics and dramatic, almost blown out presentation. The Funeral Portrait believes in the power of Devotion to their Music and to their unwavering fanbase, The Coffin Crew. The ritual is beginning and they want everyone involved. Join them to share your devoutness; excuses for not attending are forbidden.

Empty Empty is Cinema Paradiso's 3rd album. Cinema Paradiso functions as a trio without a leader, consisting of Kurt Van Herck (Brussels Jazz Orchestra, Dizzie Gillespie Big Band, Bert Joris Quartet), Eric Thielemans (A Snare is a Bell, EARR, Talking About the Weather) and Willem Heylen (KRAKk, Aki, Sargam).

After his guest contributions on several tracks during the recording sessions that resulted in the compilation of the first two albums (Volume I and Volume II), Jozef Dumoulin (Lidlboj, The Red Hill Orchestra, True Company) was involved in the entire creation and recording process of Empty Empty.

Now focusing on original compositions (along with some Indian chants and a piece by Claude Debussy), this album also distinguishes itself from the previous two albums by presenting a new sonic landscape. Blending the rich timbres and textures of both the acoustic and electric sonic worlds of the musicians, we were looking to get a strong, direct, full sound that still retains enough detail and acoustic warmth.

The album was recorded and mixed by Joris Caluwaerts (Stuff) at his Finster Studio in Antwerp.

Erste Vinyl-Neuauflage dieses fantastischen Albums von 1981 von Marcos Valle, eines der bedeutensten Künstler der brasilianischen Musik. In Brasilien aufgenommen, nachdem er Ende der 70er Jahre in den USA gelebt hat, brachte Valle sein angeborenes Talent für Arrangements und seine vielfältigen Einflüsse auf diesem unwiderstehlichen Album zusammen. Gäste sind u.a. Sivuca, Chicago's Peter Cetera, Robson Jorge und Joses Azymuth Roberto Bertrami. Valle ist einer der wenigen Künstler, die man sich nicht entgehen lassen sollte, wenn man auch nur das geringste Interesse an brasilianischer Musik hat. Ob Sie nun Bossa Jazz, Samba, Psych Folk oder Soul mögen, Valle hat mit Sicherheit ein großartiges Album für Sie aufgenommen. Ende der 60er Jahre hatte er bereits genug qualitativ hochwertige Platten veröffentlicht, um sich einen Platz unter den besten brasilianischen Songwritern aller Zeiten zu sichern, aber seine Karriere war glücklicherweise noch nicht zu Ende, und er veröffentlichte in den folgenden Jahrzehnten weiterhin erstaunliche Musik. Mitte der 70er Jahre ließ er sich in Los Angeles nieder, weil er es leid war, unter der brasilianischen Militärdiktatur zu leben, und begann, mit so talentierten Künstlern wie Leon Ware oder Chicago zusammenzuarbeiten. ,Vontade de rever você" (1981) ist sein erstes Album nach der Rückkehr nach Brasilien und zeigt all die musikalischen Einflüsse, die er während seiner Zeit in den USA erhalten hat, insbesondere Boogie, Soul und Funk, mit hervorragenden Mitwirkenden: Sivuca, Peter Cetera aus Chicago, Robson Jorge und sogar José Roberto Bertrami von Azymuth am Rhodes. Das Eröffnungsstück ,A Paraíba nao é Chicago" ist Marcos Valles eigene Interpretation von Leon Ware's ,Baby Don't Stop Me" und macht deutlich, dass das, was er in LA erreicht hat, nun auch in Brasilien ankommt. Dies ist ein unverzichtbares Album für Boogie-Liebhaber. Hören Sie sich den unwiderstehlichen Groove von ecados de amor, (Valles eigene Komposition, die allerdings zuvor von Cristina Camargo aufgenommen wurde) oder elhos surfistas querendo voar" an, und Sie werden schnell feststellen, dass dieses Album zu den solidesten Leistungen in seiner gesamten Diskografie gehört. Selbst wenn das Tempo im Midtempo gehalten wird, wie beim abschließenden Stück ao pode ser qualquer mulher", schaffen es Valles Songs, die Tanzfläche mit seiner sehr gut gelungenen Mischung aus brasilianischen Klängen und funkigen Rhythmen zu erschüttern.

Die legendäre Swamp Blues Band aus dem New York der Neunziger, THE CHROME CRANKS, setzte sich zusammen aus Peter Arron, William Weber (G.G. ALLIN&THE MURDER JUNKIES), Jerry Teel (HONEYMOON KILLERS, BOSS HOG, JERRY TEEL&THE BIG CITY STOMPERS) und Bob Bert (SONIC YOUTH, PUSSY GALORE, FIVE DOLLAR PRIEST). 1994 nahmen sie im WMBR Studio in Boston auf und verließen es mit zehn neuen Tracks im Gepäck, ihre bis dato brutalsten, lautesten und intensivsten Songs. Endlich auf Vinyl mit großartigem Artwork und bisher ungesehenen Bildern!

After two very intimate solos albums, pianist and singer Gregory Privat returns with PHOENIX, a luminous album celebrating the cycle of life and the constant rebirth from the ashes. A metaphor for the firebird, it's a continuation of the album SOLEY released in 2020. With double bassist Chris Jennings and drummer Tilo Bertholo, this unique trio blends spiritual jazz with urban pop, Creole songs, and electronic music.

Born in Martinique in December 1984, Gre\u0301gory Privat is the son of pianist Jose\u0301 Privat, known for his participation in the internationally recognized Caribbean group, Malavoi. Attracted by the piano at an incredibly young age, he took private lessons from the age of six and devoted himself for 10 years to a classical apprenticeship before turning to improvisation techniques and jazz.

Performers on this recording:

Gregory Privat - piano; Chris Jennings- double bass; Tilo Bertholo - drums

Releasing as a vinyl 45, Bad Night is the lead offering from The Cromagnon Band's new album Mode. This is the band's second LP and the first of theirs to be released on BBE Music. Mode itself is an album of cinematic and psychedelic dark Funk tinged and tinted with Nordic psych/jazz, classical, boom-bap Hip-Hop breaks and riff heavy rock. Bad Night is backed with Quadrant, a stand alone track that won't be on the album, thus making the vinyl single release a unique addition to the music lover's record collection. That said, these are are two tracks which give both a genuine flavour of the forthcoming album as well as the band's own musical influences and heritage as instrumentalists and producers. The Cromagnon Band's recording technique of taking breaks, riffs and melodies from favourite tracks and then improvising from there with completely live jam sessions in the studio allows them to record in their distinct and trademark 'reverse engineering' style. The trio of Drummer Tom Watt, Bassist Lenny Walker and multi-instrumentalist Bert Page work by making music as a team, playing for hours and united by a love of Hip-Hop breaks and psychedelic Jazz/Rock/Funk and classical music. They choose to record only instrumentals which allows space for Bert to weave intricate soundscape with Fender Rhodes, Moog, Sax and Clarinet over the beats and breaks they have written from their improvised jams. Bad Night b/w Quadrant are the lead releases from The Cromagnon Band's new album Mode. They will be released as a 7" vinyl and digitally.

Inhaltsangabe:Lautes Gekrächze und Hilfeschreie schallen durch den Park. Peter eilt zu Hilfe, als ein Mann von einem wild gewordenen Schwarm Krähen attackiert wird.Mit ihren spitzen Schnäbeln hacken die Vögel wütend auf den Mann ein und lassen nur schwerlich von ihm ab. Was hat die Krähen so in Aufregung versetzt? Justus, Peter und Bob folgen dem Ruf der Krähen und stoßen auf ein geheimes Projekt, das die Zukunft der Menschheit auf den Kopf stellt. Sprecher:innen & MitwirkendeErzähler: Axel MilbergJustus Jonas, Erster Detektiv: Oliver RohrbeckPeter Shaw, Zweiter Detektiv: Jens WawrczeckBob Andrews, Recherchen und Archiv: Andreas FröhlichGoldie June: Uli HeissigGordon Dust: Till HagenRoy Hancock: Nicolas KönigKimberly Cryder: Viktoria FleerBuch und Effekte: André Minninger - Regie und Produktion: Heikedine KörtingRedaktion: Maike Müller - Titelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von André Minninger, erschienen im Kosmos Verlag, Stuttgart. © 2023Based on characters created by Robert Arthur. Mit freundlicher Genehmigung der Universität Michigan. Die drei ??? © 2024 Franckh-Kosmos Verlags-GmbH & Co. KG. (P) & © 2024 EUROPA a division of Sony Music Entertainment GmbH

Inhaltsangabe:Lautes Gekrächze und Hilfeschreie schallen durch den Park. Peter eilt zu Hilfe, als ein Mann von einem wild gewordenen Schwarm Krähen attackiert wird.Mit ihren spitzen Schnäbeln hacken die Vögel wütend auf den Mann ein und lassen nur schwerlich von ihm ab. Was hat die Krähen so in Aufregung versetzt? Justus, Peter und Bob folgen dem Ruf der Krähen und stoßen auf ein geheimes Projekt, das die Zukunft der Menschheit auf den Kopf stellt. Sprecher:innen & MitwirkendeErzähler: Axel MilbergJustus Jonas, Erster Detektiv: Oliver RohrbeckPeter Shaw, Zweiter Detektiv: Jens WawrczeckBob Andrews, Recherchen und Archiv: Andreas FröhlichGoldie June: Uli HeissigGordon Dust: Till HagenRoy Hancock: Nicolas KönigKimberly Cryder: Viktoria FleerBuch und Effekte: André Minninger - Regie und Produktion: Heikedine KörtingRedaktion: Maike Müller - Titelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von André Minninger, erschienen im Kosmos Verlag, Stuttgart. © 2023Based on characters created by Robert Arthur. Mit freundlicher Genehmigung der Universität Michigan. Die drei ??? © 2024 Franckh-Kosmos Verlags-GmbH & Co. KG. (P) & © 2024 EUROPA a division of Sony Music Entertainment GmbH

North Sea Jazz Concert Series - 1978 by Buddy Rich Big Band, released 12 July 2024, includes the following tracks: "Big Swing Face " and more.

This version of North Sea Jazz Concert Series - 1978 comes as a 1xLP.

The vinyl is pressed as a white disc.

North Sea Jazz Concert Series - 1981 / 1982 / 1988 by Dizzy Gillespie, released 12 July 2024, includes the following tracks: "Con Alma ", "Jessica's Day " and more.

This version of North Sea Jazz Concert Series - 1981 / 1982 / 1988 comes as a 1xLP.

The vinyl is pressed as a white disc.

Frail Body is a three piece band from Rockford, IL. "Artificial Bouquet" is an eleven song album by Frail Body. Produced, engineered, and recorded by Pete Grossmann at Bricktop Recording, and mastered by Jack Shirley at The Atomic Garden (Deafheaven, Joyce Manor, Loma Prieta). Opening track "Scaffolding" explodes out of the gate with dizzying speed before descending into a wash of discordant melody. "Berth" and "Critique Programme" then inject pulse-pounding tempo shifts and unorthodox heavy riffing into the fray. "Devotion" plays as a stunning ebb and flow epic that shows method to their musical chaos. "Monolith" and "Refrain" then blur the lines between post-hardcore and melodic black metal in their frantic approach. These lead to "No Resolution" and "Runaway"; two slow build numbers that showcase the otherworldly dynamics Frail Body possess. "Horizon Line" follows this path as it builds to bone-shaking crescendo. Lastly "Another Year Removed" serves as an instrumental bridge to closer "A Capsule In The Sediment". A song that empties the emotional tank for all to bear witness. All of it so raw and beautifully out of control. Without question, "Artificial Bouquet" establishes Frail Body as leaders within the modern "screamo" movement. A shining example that the once dormant sub-genre continues to evolve and thrive for all the world to see.

Dieser Tage erscheint das Ted Kessler Buch "To Ease My Troubled Mind: Die autorisierte unautorisierte Geschichte von Billy Childish". Als die Idee für das Buch die Idee für das Buch aufkam, wollte Billy ein prägnantes Doppelalbum zusammenstellen, das die 47 Jahre seines musikalischen Schaffens zusammenfasst. Dies ist das Ergebnis. Mein Name ist William Ivy Loveday, alias Steve Hamper, alias Guy Hamper, alias Jack Ketch, alias Billy Childish. Ich wurde in Medway, Kent, geboren, wo ich immer noch lebe. Ich verließ die Schule 1976, als ich 16 war. Da ich keinen Schulabschluss hatte, wurde ich von der Kunstschule abgelehnt und ging in der Werft von Chatham als Steinmetzlehrling arbeiten. Später schaffte ich es, aufgrund meiner Bilder in einen Malkurs an der St. Martin's School of Art aufgenommen zu werden. Ich, Bruce, Big Russ und Little Russ gründeten 1977 The Pop Rivets und machten unsere ersten Aufnahmen. Unsere Inspiration war Punkrock, TV21 und The Swinging Blue Jeans. Ich lernte Gitarre zu spielen und arbeitete 1979 vier Wochen lang im Oakwood Mental Hospital als Pförtner, dann gründeten ich, Mick und Bertie The Milkshakes. Unsere Inspirationen waren Link Wray, die Beatles-Live-at-the-Star-Club-LP, der Song "Gotta Get the First Plane Home" von den Kinks und unser Hass auf die New Romantics-Szene. Dann wurde ich von der St. Martin's School of Art verwiesen, weil ich etwas geschrieben hatte, das als "die schlimmste Art von Toilettenwand-Humor" bezeichnet wurde. Ich verprügelte meinen Vater, als er aus dem Gefängnis kam, wo er wegen Drogenschmuggels gesessen hatte. Wir haben uns bei The Milkshakes nie selbst bezahlt und das ganze Geld in die Herstellung unserer eigenen Platten gesteckt. Ich bewahrte das Geld auf einem Bankkonto unter dem Namen Kurt Schwitters auf. Ich lebte 12 Jahre lang von der Sozialhilfe. Im Jahr 1985 gründeten wir Thee Mighty Caesars. Unsere Inspiration waren Bo Diddley und The Troggs. Ich wurde Mitglied von Greenpeace. 1989 gründeten Bruce und ich Thee Headcoats. Unsere Inspiration waren Son House und Downliners Sect. 1999 gründeten ich, Wolf und Johnny Barker The Buff Medways. Unsere Inspiration war Jimi Hendrix in Beatle-Stiefeln und The Who, bevor Roger Daltry anfing, die Vorhänge seiner Oma zu tragen. Etwa 2008 gründeten Julie und ich The Musicians of the British Empire. Daraus wurde dann CTMF. Daraus wurden dann die Chatham Singers. Unsere Inspiration basierte auf uns selbst. Als Nächstes war es an der Zeit, dass Neil und ich die Spartan Dreggs gründeten, inspiriert von Homer und A. E. Housman. Andere Gruppen entstanden und zerfielen - damit niemand wusste, wer wir waren oder warum. Im Jahr 2019 entstand The William Loveday Intention - inspiriert von Hollis Brown und den Mississippi Sheiks. Das Guy Hamper Trio tauchte noch einmal auf, zusammen mit Jamie an der Hammond. Einige dieser Gruppen sind geblieben, viele haben sich zu fernen Ufern mit scharfen, versteckten Felsen aufgemacht. Hauptsächlich male ich und schreibe Gedichte und Romane. Zusammen mit der Musik, die ich spiele, ist nichts, was ich tue, jemals besonders modisch gewesen, aber genau darum geht es auch. Schon 1977 haben wir gerne Nein gesagt. Dann, als der Punk sich in New Romantic verwandelte, fielen wir in den frühen Rock 'n' Roll und den Blues zurück. Bei The Milkshakes sagte man uns, dass wir zu viele LPs veröffentlichten und damit kommerziellen Selbstmord begingen, also brachten wir an einem Tag vier verschiedene LPs heraus. Ab und zu kommt jemand Berühmtes vorbei und ein kleiner Krümel rollt über den Tisch und spritzt in unsere lauwarme Suppe. Ein anderes Mal eifern uns Unbekannte nach und erweisen sich nur als besser. Ich liebe Pop, aber keine Popstars. Ich interessiere mich nur für Klang und Farbe und das in einem kleinen Maßstab zu sein. Ich verstecke mich nicht hinter Lautstärke und Off-Stage-Mixing. Ich brauche keine Show zu spielen, weil ich lieber daheimsitze und eine Tasse Tee trinke. Meine Arbeit gehört nach unten, zum Instinkt und zum Elementaren, und ist nahe am Boden. Ich glaube an selbstgemachte Musik, selbstgemachte Kunst und selbstgemachtes Kochen. Die Musik war über die Jahre hinweg ein lohnendes Hobby. Ich habe viele gute Freunde getroffen und mit ihnen gearbeitet, und Gott hat mich vor dem Ruhm bewahrt. Ich möchte die Straßenbahn und das Pferd zurückbringen.

"Direct heir to the fusions of Maloya rhythms from Réunion Island, like Alain Peters, Danyel Waro, René Lacaille... Bonbon Vodou is the sweet and sour confectionery concocted by Oriane Lacaille and JereM Boucris. Bathed in the sweetness of clear voices and carried by a devastating groove, Bonbon Vodou distills joy and propagates a trance wave.

Bonbon Vodou renews in French and Reunion Creole the melodic-fantastic marriage of grouple (couple group) Areski B./B. Fountain.

On her unique mini-drums, Oriane makes bodies shake to the pulsations of the Island of Meeting. JereM, with his oil can body guitar and North African reminiscences, hybridizes these rhythms of heady melodies.

The creoleness of Bonbon Vodou is expressed in a bonfire, which summons Brassens in choir as well as the explosive ternary of the Indian Ocean. To make this fire crackle a little more, the duo joins in a fantasized “side band”: the Piment Piment, three captivating musicians for an enhanced Bonbon Vodou formula. Roland Seilhes: the pied-noir blanc-bec at the hips (sax, clarinets and flute) Juliette Minvielle: the aerial wildness of Béarn (string drum, keyboards and percussion) Yann-Lou Bertrand: Panam ivory (bass, flute, trumpet, percussion)

Bonbon Vodou as a quintet explores even more deeply maloya and the mosaic of swaying and telluric rhythms gleaned from the four cardinal points.

If the duo adopted the Creole spelling of AFRODIZIAK it is because it extends the very real dream of their African roots.

Singing about the beauty of crossbreeding and the harshness of metic life.

The quest for hidden treasure, the lives of migrations and island lives are imbued with it.

“Bonbon Vodou sides with the practices of enchantment” Vinciane Despret "

* The title Afrodisiak quotes “We love life as much as possible” by Palestinian poet Mahmoud Darwish

2025 Repress

Operation Sole like the summer, hopefully, imminent; “Operazione Sole” like the 1967 song by Peppino Di Capri, considered, perhaps wrongly, the first ska in Italy, but certainly the first to talk about Jamaica and upbeat rhythms.
The record you have in your hand is intended to be a testimony to how much the sounds born in Kingston between the '60s and '70s had a significant influence on local pop.
With the first explosion of reggae in England between 1968 and 1970, as well as with the rise of Bob Marley to a worldwide cult phenomenon, parallel to the all-English phenomenon of Two Tone and the ska revival, Italy, always attracted by the new trends not only English, he certainly couldn't stay on the sidelines.
Therefore these innovative and unknown upbeat sounds, derived from the blues of the 1950s and mixed with a Caribbean sauce, have also taken hold in the Bel Paese.
It began as early as 1959 with the song “Nessuno” by Mina, considered to all intents and purposes a Jamaican shuffle, to arrive in a few years at blue-beat (I4 di Lucca, Claudio Casavecchi) and ska (Margherita, Peppino Di Capri , Silvano Silvi, Renzo and Virginia) and be exposed to the first reggae (for example Jo Fedeli and his Italian version of “Israelites” by Desmond Dekker). Thus, we quickly reach the end of the decade of the economic boom and the culture, styles, references change: everything becomes more busy (on a cultural, artistic and political level).
After a stalemate phase that lasted more than five years, Bob Marley's reggae (considered a sort of new Messiah) conquers the planet, including Italy: the producers and artists, even at a high level, for a few years do not remain at all indifferent to this novelty and decide to introduce the "upbeat", primarily reggae, into the various pop repertoires: well-known names such as
Loredana Bertè, Mario Lavezzi, Rino Gaetano, Ivano Fossati, Ilona Staller, Adriano Celentano, Edoardo Bennato throw themselves headlong into new sonic adventures, in a pioneering way, but often with excellent results.
The "Operazione Sole" collection wants to take the credit, instead, of proposing and discovering lesser-known artists (with the exception of Gino Santercole, former associate and relative of Il Molleggiato), often real meteors in the Italian musical panorama, who have tried to achieve (or achieve again) success by adapting the pop that was so popular in those years to the new black sounds prevailing in the West.
We are in the early 80s and we range from the most classic reggae, to Italo-disco contaminated by dub up to the true Neapolitan style which, on more than one occasion, in its being endemically "black" and full of groove, has wrung out the watch out for agreements made in Kingston and London.
“Operation Sun”: a pleasant philological work, but surrounded by an equally pleasant aura of disengagement.

In each new volume of the series, DTM Funk will collaborate with another befriended DJ/producer, assembling a varied collection of productions representing the sound of the guest selector. For the second edition, we look to Soft Focus, also know as Forbidden Fruit, Title or Toon Janssens. Already for years in the game but still one of Belgium's most skilled producer.

SKRR Vol-002 will focus around the groove that Soft focus brings to the humanity; "downtempo grooves, cinematic sound and abstract waves for the brains, the body and the soul".

Featuring 10 tracks from the likes of Bert Cools, Memotone, Dries Laheye, Arthur Brouns and more.

The compilation perfectly fits the philosophy of the record label. "The meaning of San-Kofa implies that all music comes from somewhere", explains DTM Funk. "If you acknowledge the music's origins and its essence, it becomes so much more valuable, and you become better prepared for the future".