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Limited Cerulean Blue Vinyl LP. RIYL: Amen Dunes, Adrienne Lenker & North Americans. Numün, the NYC psychedelic instrumental trio Pitchfork dubbed as 'savvy navigators of paths less traveled', is releasing its second album Book of Beyond on the legendary Shimmy Disc label. With this record, the band, which includes Joel Mellin and Christopher Romero of Gamelan Dharma Swara and ambient country pioneer Bob Holmes of SUSS, continues to stretch their exploration of the inner and outer astral worlds of their first release Voyage au Soleil – voted one of the Best Ambient Releases of 2020. Dave Segal of Pitchfork called that album a "blending of the opiated psychedelia of the music territory staked Brightback Morning Light with a loose-limbed minimalism that privileges subtle effects and incremental chord changes" and Chris Ingalis from PopMatters called it "a trippy, ambient ride and ambitious debut that pulls off the neat trick of creating music that evokes space travel while also sounding refreshingly grounded to Earth's atmosphere." The new album, mastered by Kramer (Galaxie 500, Butthole Surfers, Bongwater, Low, Bill Frisell, etc.) features a unique mixture of Eastern and Western musical stylings and instrumentation including Balinese gamelan, gender wayang, and cumbuz (a 12-string fretless banjo) alongside the classic Americana instrumentation of slide guitar, baritone, mandolin and violin. The instrumental music charts new territories as it explores themes that are sometimes deeply personal, spiritual and otherworldly, including new fatherhood, sleep deprivation, loss and rebirth with titles that include Steps, Vespers, Eyes Open & Lullaby. Guests on the album include Trina Basu (Brooklyn Raga Massive), Tori Lo Mellin (Dharma Swara), and Willa Roberts (Black Sea Hotel). With their new album, Book of Beyond, Numün creates music that provides a star map to help us all navigate the inner constellations of our daily lives.

• Gil Scott-Heron was twenty-one years old when he was signed to Flying Dutchman by Bob Thiele to make an album of his poetry. The resultant “Small Talk at 125th and Lenox” was recorded before a small live audience and, released in 1970, sat perfectly in a world where the Last Poets had just tasted Top 10 success with their debut LP. “Small Talk at 125th and Lenox” opened with a spoken word version of ‘The Revolution Will Not Be Televised’ and also featured poems and musical pieces like ‘Omen’, ‘Brother’, ‘Plastic Pattern People’, ‘Paint It Black’ and ‘Everyday’ that reflected on the black community and its condition within America at this time.

• The starkest of these sharp observational pieces from Scott-Heron was ‘Whitey On The Moon’, which recounts the US Government spending billions on landing a rocket on the moon at a time when, “a rat done bit my sister, Nell”.

• Like its follow-up – “Pieces Of A Man” – “Small Talk at 125th and Lenox” is a classic album and we are delighted to serve it up again on vinyl in a gatefold sleeve with the original liner notes.

• With current “Big Talk” of going back to the moon, whilst injustice still prevails for many black people in America, “Small Talk at 125th and Lenox” still conveys a message that resonates today.

Double vinyl LP pressing. Wagram music present a release chock-filled with jazz tunes that have been appropriated and live on in the sample-heavy world of hip-hop! Includes tracks by Nina Simone, Bob James, Doris Day, Billie Holiday, Dinah Washington, and many others.

Factory Benelux presents a new 3 disc black vinyl edition of Harmony, the debut album by influential Scottish group The Wake. Originally released by Factory Records in December 1982, this new expanded edition marks the 40th anniversary of this landmark post-punk album.

The Wake formed in Glasgow in 1981 after singer/guitarist Caesar left Altered Images, and joined Factory the following year. Harmony was recorded at Strawberry Studios in Stockport with producer Chris Nagle (formerly Martin Hannett’s preferred engineer), by which time the group comprised Caesar (vocals, guitar), Carolyn Allen (keyboards), Steven Allen (drums) and Bobby Gillespie (bass). On release as Fact 60 the original 7 track mini album earned a 5 star review in Sounds magazine, hailed as the missing indiepop link between Factory and Postcard Records.

Bonus tracks on Disc 2 include The Wake’s dub-informed second single, Something Outside b/w Host, and also their John Peel session from July 1983 – the last recordings to feature Gillespie before his departure for The Jesus and Mary Chain and Primal Scream.
Disc 3 offers a desk recorded live set from Ayr Pavilion on 15 April 1983 during a tour with New Order. The concert includes several songs never recorded in the studio, including Recovery and Country of the Blind.

The enhanced trifold artwork for this new edition includes images of the band by noted photographer Paul Slattery, taken at the Mitchell Library in Glasgow, as well as new liner notes by Caesar. A 2xCD edition is also available (FBN 29 CD).

After releasing several further albums on Factory and Sarah Records during the 1980s and 1990s, The Wake returned to recording with A Light Far Out in 2012. A new studio album is expected in 2023.

Soul Jazz Records are releasing Count Ossie and The Mystic Revelation’s seminal 1975 album Tales of Mozambique in an expanded double album/single CD/digital format, fully remastered and with the inclusion of two bonus rare single-only tracks, full sleevenotes, exclusive photographs and interview.

Count Ossie is the central character in the development of Rastafarian roots music, nowadays an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.

Count Ossie’s drummers performed on the first commercially released single to integrate Rastafarian traditional music with popular music: the vocal group The Folkes Brothers’ groundbreaking song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the momentous arrival of Haile Selassie at Kingston airport.

His legendary jam sessions up in his Rastafarian compound in the hills of Wareika, Kingston, are famous for the many Jamaican musicians who attended including The Skatalites players – Roland Alphonso, Don Drummond, Johnny Moore, Lloyd Knibbs – and many others.

The Mystic Revelation of Rastafari formed in Kingston, Jamaica, in 1970, a union of Count Ossie’s Rastafarian drummers – variously known as his African Drums, Wareikas or his Afro-Combo – and the saxophonist Cedric Im Brooks’ horns group, The Mystics.

The Mystic Revelation of Rastafari are the defining group in bringing authentic Rastafarian rhythms into the collective consciousness of popular music, their unique music is at once rooted in the deep traditions and rituals of traditional drumming and chanting alongside a forward-thinking, even avant-garde, artistry influenced by the likes of John Coltrane, Sun Ra, Pharoah Sanders and other pioneering African-American jazz artists radicalised and charged by the civil rights movement of the 1960s.

Tales of Mozambique is a truly unique and fascinating ground-breaking album.

Count Ossie and The Mystic Revelation of Rastafari are the central group featured on Soul Jazz Records recent "Rastafari - The Dreads Enter Babylon” a collection showing the influence of Rastafari in Reggae and Jamaican popular culture.

Soul Jazz Records will also be releasing Count Ossie and The Rasta Family 'Man From Higher Heights’ in the near future.

* Bonus tracks

REVIEWS

" All roads in Rastafarian roots music lead to Count Ossie.He’s the lead character in this compelling subplot, the musician who was one of the first to put Rasta tenets into the heart of popular music.

He did so from his camp in the hills above Kingston, Count Ossie and his drummers casting a spell on the musicians who gathered to check him out and then went on to spread the word about the powerful nyabinghi rhythms and mesmerising percussion.

This is a reissue of the 1975 album Count Ossie made with his Rastafarian drummers and saxaphonist Cedric ‘Im’ Brooks’s group The Mystics.

It’s a groundbreaking, majestic work, by turns righteous in tone and joyous in execution. It’s the sound of Ossie and his ensemble narrating a history lesson and you’d be daft not to want to find out more." IRISH TIMES

In a Hip Hop match-up as heavy as Freddy vs Jason was to horror cinema, Los Angeles emcee's Mykill Miers and Pawz One have announced a collaborative album titled "Double Homicide". The project is packed with multi-syllabic lyrical barrages and DJ cuts as gritty as the boom-bap backdrops for a journey through the dark underbelly of the city of angels.

Mykill Miers, the self-proclaimed "Hitchcock Of Hip Hop" has been a threat on the mic since the late 90's, coming up in the same circle as notables including Planet Asia, Dilated Peoples and Phil The Agony. Pawz One has been releasing music for the past decade has been repping hard for the real ish. Speaking on their initial link-up Pawz recalls "I had obviously known of Myk for a while from killing it on the "Wake Up Show" to all the work he dropped. I was circulating around shows in LA a few years back and we ended up on the same bill a few times. We exchanged contact and did a few songs and I felt like it was a combo people would like to hear more from."

Production on the album includes work from Default Beats, Big Bob, Phaisrok, DJ Ray Swift, Science and Mykill Miers himself. Turntablists including DJ Rhettmatic, DJ Merk1200, DJ Breeze, DJ Romes and DJ Fastcut lend their skills and emcees including Ruste Juxx, Mic Handz, Edo.G, El Da Sensei, King Magnetic and Buddah.

Cutting their teeth as teens in a West Bromwich bedroom, The Sea Urchins were nothing like the heavy metal that seemed to fill every bar in the UK Black Country. Fringe haircuts, perfect trousers, suede jackets and infectious tambourines gave plenty of hints as to their youthful ambition, but nothing could fully prepare you for just how utterly spellbinding these songs would be. Compiling their fanzine-only flexi material with the full complement of singles for Sarah Records, Stardust runs chronologically from late 1986 to the middle of 1989, beginning with the singles split for Clare Wadd’s Kvatch and Matt Haynes’ Sha La La, before hitting the first of what would be an even hundred releases from the new label Wadd and Haynes would form - Sarah.

The song that launched a legendary label and defined a sound, a scene, a place and time; “Pristine Christine” still rings out as immediate and magical today as it did on first listen. What a glorious jangly rush racing around the corners of pop’s history! The band would reach such heights time and again over the course of this three year burst. The melancholy swinging folk of “Everglade” and it’s wonderfully yearning vocal; the organ-fueled british invasion garage rock sing-a-long of “Solace”; the playful psych pop of “A Morning Odyssey”; the acoustic sweep of “Wild Grass Pictures”; the perfectly named “Summershine” leaving you with a ramshackle smile out on the dancefloor. All of it is just so filled with delicate humanity, yet somehow absolutely perfect.

As Bob Stanley said about the shimmering ballad “Please Rain Fall” while bestowing it with NME Single Of The Week (an honor also bestowed upon “Pristine Christine”), “think of some variations on the word marvelous and you’re most of the way there.”

In their time, they might have seemed wildly out of step, but it’s not crazy to say that things could have been very different for the likes of Radiohead, The La’s, and Oasis without The Sea Urchins. Liner notes by Television Personalities legend Dan Treacy.

Orange Vinyl

Cutting their teeth as teens in a West Bromwich bedroom, The Sea Urchins were nothing like the heavy metal that seemed to fill every bar in the UK Black Country. Fringe haircuts, perfect trousers, suede jackets and infectious tambourines gave plenty of hints as to their youthful ambition, but nothing could fully prepare you for just how utterly spellbinding these songs would be. Compiling their fanzine-only flexi material with the full complement of singles for Sarah Records, Stardust runs chronologically from late 1986 to the middle of 1989, beginning with the singles split for Clare Wadd’s Kvatch and Matt Haynes’ Sha La La, before hitting the first of what would be an even hundred releases from the new label Wadd and Haynes would form - Sarah.

The song that launched a legendary label and defined a sound, a scene, a place and time; “Pristine Christine” still rings out as immediate and magical today as it did on first listen. What a glorious jangly rush racing around the corners of pop’s history! The band would reach such heights time and again over the course of this three year burst. The melancholy swinging folk of “Everglade” and it’s wonderfully yearning vocal; the organ-fueled british invasion garage rock sing-a-long of “Solace”; the playful psych pop of “A Morning Odyssey”; the acoustic sweep of “Wild Grass Pictures”; the perfectly named “Summershine” leaving you with a ramshackle smile out on the dancefloor. All of it is just so filled with delicate humanity, yet somehow absolutely perfect.

As Bob Stanley said about the shimmering ballad “Please Rain Fall” while bestowing it with NME Single Of The Week (an honor also bestowed upon “Pristine Christine”), “think of some variations on the word marvelous and you’re most of the way there.”

In their time, they might have seemed wildly out of step, but it’s not crazy to say that things could have been very different for the likes of Radiohead, The La’s, and Oasis without The Sea Urchins. Liner notes by Television Personalities legend Dan Treacy.

Led by the exuberant melodies of cross-tapping guitarist Marcos Mena,
the duo named standards make ebullient instrumental math-rock whose
effervescent riffs teem with enthusiasm for life and music
On the band's debut full- length, Fruit Island, standards deftly retool math- rock's
sinister and challenging tendencies into a style that is at once danceable yet still
compositionally profound.
In spite of the band's technical and precise stylings, the strictly instrumental
compositions are always catchy and singable, inviting listeners to join the band's
dancing fruit mascots whose colorful personalities reflect the music's upbeat
nature. Fruit Island's second single, "May," perfectly captures the duo's fruity
alternate universe, conjuring images of anthropomorphic melons and berries
bobbing along to pleasantly angular riffs and chop-heavy drums.

Celebrating a momentous five decades in the industry, legendary
musician and songwriter Paul Carrack, who's 'Golden Voice' features on
numerous classic world wide hits such as 'How Long' (ACE') ,
'Tempted' (Squeeze), 'The Living Years', 'Over My Shoulder' ( Mike and the
Mechanics) teams up with the GRAMMY Award-winning SWR Big Band &
Strings on epic new album " Don't Wait Too Long"
The covers album celebrates the pioneering golden era in music from the 50s and
beyond spanning blues, gospel, country and jazz. The first single "Cryin' Won't
Help You" out in Jan 2023 is Paul's tribute to the legendary BB King.Paul has a
deep love of R&B songs from the fifties and beyond. For him, 50s music was filled
with intense emotion, it was wildly kinetic and had a profound impact on his
career. In Paul's mind, it's where all modern pop music began, the sounds were
spectacular and revolutionary. Days when the change from jazz to pop was
stretched via pioneers and great singers like Bobby Bland, Ray Charles, Aretha
Franklin, and Lloyd Price..These artists always resonated as fantastic performers
with stylistic records that had such joy and intensity.
The 50s were not only a time for musical revolution but a social and generational
upheaval of vast and unpredictable scope. The power of this music is as vital
today as it ever was with the power to change lives forever.
After working with the SWR band on a number of projects, Paul and his producers
had the idea to find and record a selection of these time-warped classics, some
well- known, others not so much, and the title track , a modern song that harks
back to those times called 'Don't Wait Too Long'. The result is an impassioned,
compelling album. Honest, epic, touching, the album showcases a great vocalist
who is at home with his art and talent.
NATIONAL TV & RADIO.BBC Breakfast - Will take first week Jan / BBC Radio 2 -
Cerys Matthews - First Week Jan / Talk Radio - 2nd week Jan / Sky News - Beth
Rigby Interview - Second Week Jan / Greatest Hits - First Week Jan / GB News -
Live Interview via Zoom First Week Jan / Talk TV - Live Interview via Zoom first
week Jan / Ch 5 News - TBC week 2 Jan / ITV News - 2nd week Jan

Originally released in 1981, Rasa has long been admired and studied by
musicians as a model for how to do a cross-cultural recording project
where the musicians actually understand something of each other’s
musical cultural and actually feel it
Remastered from the original tapes by Bob Weston at Chicago Mastering.
Energetic, delightful, virtuosic and soulful, and available again for the first time in
over 40 years. Includes extensive liner notes by Jody Stecher and a new essay by
Baiju Bhatt.

For the first time on CD and LP, an anthology celebrating the work of composer, arranger, producer and pianist Webster Lewis from his time at Epic Records. The era of 1976-1981 is one of polished, luxurious jazz funk and soul, defined by Webster across his four albums at Epic supported by an array of guest musicians, lush string sections and often uncredited singers. This collection contains the artist’s signature tracks “Barbara Ann”, “Give Me Some Emotion”, “El Bobo” and recently uncovered gems from the vaults “Reach Out”, “Boston” and “Japanese Umbrella”. The CD features an exclusive essay written by Will Fox with unique insights from the legendary DJ Patrick Forge. The recently discovered recordings appear on vinyl for the first time on the LP edition.

The timeless music and expert arrangements are about the only things smoother than the powder-blue suits sported by the Spinners on the cover of their resplendent self-titled 1972 record. The band's first album for Atlantic after departing Motown, Spinners ranks as an all-time soul classic – a filler-free set boasting immaculate harmonies, sweet melodies, and impeccably matched vocals. Thom Bell's flawless production puts it all over the top. Yielding an ideal balance of lushness and grit, the collaboration between the Detroit-based group and studio veteran yielded a record that birthed the celebrated Philadelphia Sound. Now, you can finally experience it in audiophile-grade sonics.

While the career-defining performances within the grooves cannot be overlooked, Spinners remains equally notable for its historical importance. At the dawn of the 70s, Motown still held sway as the dominant soul style. Yet the Spinners' decision to move to Atlantic – prompted by a suggestion by Aretha Franklin – and refashion their approach with Bell signalled a sea change that ushered in a smoother, sweeter variety of R&B punctuated with sweeping strings, jazzy flourishes, brassy replies, and funk rhythms. Few, if any, vocal groups mesh these traits more convincingly, pleasingly, and naturally than the Spinners on this watershed effort.

Anchored by Top 5 smashes like "Could It Be I'm Falling In Love," Spinners signalled the beginning of a partnership with Bell that lasted seven years and elevated the band to stardom. Indeed, even in spite of the four hit singles, the record remains defined by an artistic consistency, watertight focus, and collective unity that make everything here deserving of close attention. Flush with catchy hooks and pop accents, each song is treated as a potential anthem. Laden with depth and richness, Bell's savvy, wide-open arrangements frame the Spinners' satiny singing with sensual class and refined delicacy.

Heaven-sent voices do the rest. Making his first appearance on record as a member, Philippe Wynne treats the carefully honed material as a breakout session for his dulcet tenor on tracks such as "One of a Kind (Love Affair)." Not to be outdone, the equally measured Bobbie Smith mesmerizes with his deft phrasing, reedy timbre, and sparkling clarity, never finer than on the million-selling "I'll Be Around." Solo or paired together, Wynne and Smith's glorious leads run the gamut from upbeat and optimistic to sad and forlorn, forming the backbone of a masterwork that addresses romance ("Just You and Me Baby"), regret ("How Could I Let You Get Away"), and social ills ("Ghetto Child") with consummate passion.

After 9 full length studio albums and playing their asses off at over 800 shows, the Finnish disco metal machine Turmion Kätilöt is ready for the next level in their world dominance. Their 10th full length studio album “Omen X” will be released in 36 countries on 13th January 2023 via Nuclear Blast. The touring cycle starts in Finland immediately after the release of Omen X. Band will play its biggest show ever in Helsinki Ice hall on 14th January 2023. After couple of shows in the home country “Omen X” will be served all over Europe with 20 gigs inFebruary 2023 – see the full show schedule below.
”In the Omen X production, we encountered only positive problems. Due to the closures caused by Covid 19, there were so many songs available this time that it was even painful to choose only one album of songs from them. The amount of material and the difficulty of selection seemed to take up an unnecessary amount of valuable studio time at times. Otherwise, making the album went smoothly as always. From the artist's point of view, the album got a hell of a new sounds and atmosphere. A very cleansing experience. The tenth prophecy has been given. You're welcome!” - MC Raaka Pee
Turmion Kätilöt was formed in 2003 in Finland by MC Raaka Pee and Dj Vastapallo. Soon they were joined by the other members of what would become Turmion Kätilöt: Master Bates, Run-Q, DQ and Spellgoth as a second vocalist. With a couple of line-up changes as Dj Vastapallo left the band in 2009 replaced by Bobby Undertaker on guitars (ex-Deathchain) and Spellgoth leaving in 2017 replaced by Shag-U (Fear Of Domination) on vocals, Turmion Kätilöt has become the mean disco metal machine they are today.
From the very beginning Turmion Kätilöt has had a reputation of being a great live band. Disco beats from the 90’s, metal to the pedal, melodies, sing-a-longs, you name it – there are no rules. Yet still if you peek under the skin you can find the darkness pointing its finger to you. Their live shows have been praised to be the fiercest and craziest mayhem to be witnessed creating the twisted world of Turmion Kätilöt.

In summer 1958, João Gilberto -an unknown 28 year-old Brazilian guitarist and singer from Bahia- made his recording debut as a singer with two songs "Chega de Saudade" and "Bim Bom." With a new rhythmic feeling, batida, and rich harmonies he laid the basis of the modern Brazilian samba, now known as Bossa Nova. Underpinned by his insouciantly swinging guitar, Joãos seductive, vibratoless vocals caressed both ear and soul in a mesmerizing, highly addictive combination, refreshing and modern. Chega de Saudade was a hit, launching Gilbertos career and the bossa nova craze. Soon, singers and guitarists were trying to imitate him and composers were all on a Desafinado (the second Gilbertos hit) and Chega de Saudade kick. The longawaited renewal of the Brazilian samba was now a fact. Antonio Carlos Jobim said: Gilberto appeared as a light, as a big star in the firmament, in the heavens. He became a focus, because he was pulling the guitar in one way and singing the other way, which created a third thing that was profound. Yes, the guy who brought the Bossa Nova beat to the world was João Gilberto.

The musical partnership between vibraphonist Bobby Hutcherson and tenor saxophonist Harold Land fully blossomed on the 1970 album San Francisco, which found the musicians moving into fusion territory with relentlessly grooving tunes like “Goin’ Down South” and “Ummh” counterbalanced by exploratory pieces like the mesmerizing “Prints Tie.”

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Die Band - bestehend aus den Mitgliedern Derek Day (Gesang), Dane Pieper (Gitarre), Griffin Tucker (Gitarre), Franco Gravante (Bass) und Chuck McKissock (Schlagzeug) - wurde 2018 gegründet, nachdem sie sich durch ihre Liebe und Leidenschaft zur Musik virtuell verbunden hatten. Jetzt sind sie in Los Angeles und haben sich auf einer Mission vereint, um der nächste große generationsbestimmende Act zu sein, der sich von klassischen Rock-Acts der 70er Jahre und Alt-Rock-Gruppen der 90er Jahre inspirieren lässt. Ihre Musik erinnert an die Markenzeichen früherer Generationen - hymnische Rhythmen, schreddernde Gitarren, erhebender Gesang - aber sie bahnt sich ihren Weg in die Zukunft mit cleveren Arrangements, scharfsinniger Musikalität und gekonntem Songwriting. Die Band hat sich in der Branche bereits einen Namen gemacht und war mit Weltklasse-Produzenten wie Bob Rock, Michael Beinhorn und Joe Chiccarrelli im Studio, die bereits Hits für Bands wie The Red Hot Chili Peppers, Metallica, Soundgarden und The White Stripes geschrieben haben.Le groupe - composé des membres Derek Day (Chant), Dane Pieper (Guitare), Griffin Tucker (Guitare), Franco Gravante (Basse), et Chuck McKissock (Batterie) - s'est initialement formé en 2018 après s'être connectés et liés virtuellement par leur amour et leur passion de la musique. Maintenant à Los Angeles, ils se sont unis pour une mission : être le prochain grand acte de définition de la génération, en s'inspirant des actes de rock classique des années 70 et des groupes de rock alternatif des années 90. Leur musique fait écho aux caractéristiques des générations précédentes - rythmes hymniques, guitares déchiquetées, voix envoûtantes - mais se fraye un chemin vers le futur grâce à des arrangements astucieux, une musicalité aiguisée et des compositions efficaces.

Die Band - bestehend aus den Mitgliedern Derek Day (Gesang), Dane Pieper (Gitarre), Griffin Tucker (Gitarre), Franco Gravante (Bass) und Chuck McKissock (Schlagzeug) - wurde 2018 gegründet, nachdem sie sich durch ihre Liebe und Leidenschaft zur Musik virtuell verbunden hatten. Jetzt sind sie in Los Angeles und haben sich auf einer Mission vereint, um der nächste große generationsbestimmende Act zu sein, der sich von klassischen Rock-Acts der 70er Jahre und Alt-Rock-Gruppen der 90er Jahre inspirieren lässt. Ihre Musik erinnert an die Markenzeichen früherer Generationen - hymnische Rhythmen, schreddernde Gitarren, erhebender Gesang - aber sie bahnt sich ihren Weg in die Zukunft mit cleveren Arrangements, scharfsinniger Musikalität und gekonntem Songwriting. Die Band hat sich in der Branche bereits einen Namen gemacht und war mit Weltklasse-Produzenten wie Bob Rock, Michael Beinhorn und Joe Chiccarrelli im Studio, die bereits Hits für Bands wie The Red Hot Chili Peppers, Metallica, Soundgarden und The White Stripes geschrieben haben.Le groupe - composé des membres Derek Day (Chant), Dane Pieper (Guitare), Griffin Tucker (Guitare), Franco Gravante (Basse), et Chuck McKissock (Batterie) - s'est initialement formé en 2018 après s'être connectés et liés virtuellement par leur amour et leur passion de la musique. Maintenant à Los Angeles, ils se sont unis pour une mission : être le prochain grand acte de définition de la génération, en s'inspirant des actes de rock classique des années 70 et des groupes de rock alternatif des années 90. Leur musique fait écho aux caractéristiques des générations précédentes - rythmes hymniques, guitares déchiquetées, voix envoûtantes - mais se fraye un chemin vers le futur grâce à des arrangements astucieux, une musicalité aiguisée et des compositions efficaces.

In 2021, nyMusikk's annual festival of sound, "Only Connect", commissioned an interpretation from I LIKE TO SLEEP of the first movement of Olivier Messiaen’s Turangalila symphony. A project which initially led to a 15-minute piece performed at the festival, with the trio re-writing the music of Messiaen, but also rewriting the music of their own. Messiaen as a reference and compositional tool may be heard in the album for those really listening for references. With “Sleeping Beauty” the trio also explore even heavier riffs than before, seasick grooves and tempi, and deeper ambient soundscapes. Through extensive improvisation, the effects and processing of the sounds are way more extreme than before, almost awakening the sleeping beauty. During the pandemic, the band also had to find new ways to write music without the presence of every member, introducing the vibe-samples from the old Mellotron sound gallery to the band. Quarantillity, one of the themes which appears several times throughout the album - almost used in a similar way as the flower theme in the Turangalila symphony - is a direct result of sitting alone in quarantine, playing the Mellotron while listening to vibraphone extraordinaire Bobby Hutcherson. This theme could also be seen as a continuation of the previous album tracks named Pause I & Pause II from “Bedmonster” (2017) and “Daymare” (2020). Like “Daymare”, “Sleeping Beauty” was recorded in Duper Studio in Bergen, co-produced with the band’s all-time favourite sound wizard Jørgen Træen. It is also mixed and mastered by Træen, making the music sound as brutal, intense and intimate as experiencing I LIKE TO SLEEP in a live setting. “Infernal, scrotum-shrivelling energy sorely missing in today's music” said Jazzwise about their previous album, mentioning King Crimson, Magma, Tony Williams Lifetime, electric Miles and 60s free energy jazz as possible references. But that’s only one side of the story, there are plenty of quieter moments at work here, and the dynamic range is wide. Nicolas and Øyvind first met in high school in Trondheim before they joined up with Amund in a youth big band. It soon became apparent that they shared the same musical background centered around 70s progressive rock, classical music, jazz and improvisation. Taking their name from a Thelonious Monk quote, I LIKE TO SLEEP was formed, first for fun, but soon with higher ambitions, winning the prestigious "Young Jazz Musicians of the Year" award in 2018. Still only in their early 20s and still studying jazz at NTNU in Trondheim, they are also active as composers, freelancers and in other projects and are among the most promising on Norwegian scene. Amund Storløkken Åse – vibraphone and Mellotron Nicolas Leirtrø - baritone guitar, bass-VI and Mellotron Øyvind Leite – drums Tracks

Singer-songwriter Amos Lee draws inspiration from soul music, contemporary jazz and 1970s folk artists such as James Taylor. The Philadelphia native honed his song writing skills while waiting tables and bartending after graduating from the University of South Carolina with a degree in English. He eventually landed some high-profile gigs as an opening act, including an extended tour with pianist/vocalist Norah Jones, whose bassist, Lee Alexander, agreed to produce Lee's first album.

With Alexander's help, Amos Lee released his self-titled debut on Blue Note in 2005. The album won Lee a small following for his blend of acoustic funk, folk, and light jazz. Norah Jones herself plays the piano on two tracks; "Keep It Loose, Keep It Tight" and "Colors."

A notable debut like Amos Lee deserves the Analogue Productions reissue treatment. This beauty was cut by Bernie Grundman in Los Angeles from the master tape, and is now pressed at 45 RPM on two glorious sides of 180-gram vinyl by Quality Record Pressings, makers of the world's finest-sounding LPs. QRP is noted for deep-black backgrounds and pristine clarity. If you're already familiar with Amos Lee, get ready — you've never experienced it with such lifelike sonics and premium richness. This is how all vinyl should sound.

The songs on the album incorporate themes of folk, soul, gospel and jazz. Amos's style is a mix of Bill Withers, Arthur Lee, and James Taylor. Amos has recently toured with Bob Dylan, Paul Simon, Elvis Costello, Van Morrison, Adele, Dave Matthews and many others.