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Jakarta Records is proud to present “Les Grandes Vacances” courtesy of Beirut’s Cosmic Analog Ensemble, aka multi-instrumental phenom Charif Megarbane. The LP is an expansive musical odyssey, one that paints a melodic tapestry woven from an eclectic panorama of sonic tools. Funky beats, dreamy melodies + cinematic flair combine to create an experience that transcends time. From vibrant funky energy to introspective moods and library-inspired tunes, “Les Grandes Vacances” captures the essence of past and present, inviting you to indulge in the perfect balance of “groove-stalgia.” Out January 19, 2024.


Cosmic Analog Ensemble (1.6k Spotify Monthly Listeners – SML), the prolific one-man band helmed by Charif Megarbane (61.5k SML), the staggeringly prolific producer, instrumentalist, and all-around musical mastermind, returns to his “Ensemble” with LP “Les Grandes Vacances.” Megarbane's artistry has garnered widespread recognition, with notable placements in Spotify Editorial Playlists like "Global Groove" (679k) and "Folk Fabrique" (162k), along with coverage from esteemed platforms / publications such as BBC Radio, Bandcamp, The Vinyl Factory, Time Magazine, and Esquire, among others. Building on the success of his debut solo release “Marzipan” in 2023 via Habibi Funk, “Les Grandes Vacances” is a sonic journey that captures the full scope of Megarbane’s sonic habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. Now, Jakarta Records presents a new expansion in the Megarbane sonic universe.

In the enchanting sonic world of “Les Grandes Vacances,” Cosmic Analog Ensemble expertly combines diverse musical elements to craft an immersive experience. From vibrant funky energy to introspective moments and library-inspired compositions, the album's sonic palette is rich and varied. The meticulously designed artwork by Simone Cihlar (known for collabs with Anderson Paak., Tom Misch, Ivan Ave, Tapioca and others) complements the album's thematic depth, enhancing the visual and auditory journey for listeners.

First single is the thrilling sonic escapade, “La Ligne Claire,” set to release on November 10th in conjunction with LP pre-order. The track immerses listeners in vintage spy movie ambiance, featuring groovy drums, warm keys, thematic guitars, and strings that create an unforgettable car chase scene. As part of the rollout schedule, this single offers a glimpse into the album's captivating fusion of nostalgia and innovation, promising a musical adventure that lingers and resonates in your ears. Second single, the lush and groovy “Le Dictionnaire des Sentiments,” follows in the sonic footsteps of Serge Gainsbourg (complete with beautifully poignant French lyricism), out December 8th to round out the year. The track jerks the listener towards a more meditative state and expanding, cinematic sound.

Kicking of 2024 will be the absolute funkified single 3 “Maritime Jazz,” out January 5th. The track transports you to a groovy marina where the movement of the sea and boats sways you along a Madlib / Yesterdays New Quintet-esque groove.

Reflecting on his creative process, Megarbane cites a stream of consciousness approach to the Cosmic Analog Ensemble: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.”

Divino Nino's new album Foam feels like catching up with a lifelong friend. There's undeniable songwriting chemistry between guitarist Camilo Medina and bassist Javier Forero, who met as kids in Bogota, Colombia and years later reconnected by sheer happenstance after their families had both moved to Miami. Both studied at the School of the Art Institute of Chicago where they met guitarist Guillermo Rodriguez and eventually Drummer Pierce Codina. Now Chicagoans, their rhythmic, soulful - and at times bilingual - Latinx punk songs are a reflection of their continent-spanning bond and proof that Divino Nino couldn't have formed without unlikely but happy coincidences.The ten tracks on Foam feature wistfully romantic lyrics like the yearning plea on the title track ("I really wanna run away with you"), and sunny, honeyed arrangements. Songs like "Quiero" trade-off between English and Spanish with woozy guitars and harmonies anchoring the sweetness of the lyrics. The quartet's Latin American roots seep in throughout the LP's silky psychedelic flourishes but especially on single "Maria," which is sung entirely in Spanish. Inspired in equal parts by Argentine punk and the narratives of Mexican telenovelas, the personality-filled track is one of the most memorable on the record.

SLIFT's ILION is a towering work of rock music, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock's epic sense of scale. ILION is the kind of music where you listen to it and think to yourself, "This came from only three people?" It sure did, and SLIFT's utter ferocity is way more than a tempest in a teacup. It reaches outwards for miles and creates new zeniths within unforeseen horizons of rock. SLIFT is made up of brothers Jean and Remí Fossat, and Canek Flores, who first met the brothers Fossat at school. After the band formed in 2016, they quickly made their 2017 debut EP, Space Is the Key, which merged stoner rock's heaviness with the sugar-rush qualities of garage rock. From there, things only got weirder: The trio experimented with faster tempos and bongos(!) on the following year's full-length La Planeté Inexploreé, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation, racking up more than 1.4 million YouTube views. UMMON from 2020 represented SLIFT's pivot towards the celestially crushing confines of psych-metal, marked by Remí's rolling basslines and Flores's relentless skin-pounding. But nothing in their catalog could prepare you for ILION, a huge and melodically dense record that at once recalls Godspeed! You Black Emperor's perpetually uplifting surge, the passionate burn of post-hardcore legends _And You Will Know Us By the Trail of Dead, Led Zep's psychotic blues-rock mysticism, and the psychedelic swirl of Swedish greats Goat.

SLIFT's ILION is a towering work of rock music, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock's epic sense of scale. ILION is the kind of music where you listen to it and think to yourself, "This came from only three people?" It sure did, and SLIFT's utter ferocity is way more than a tempest in a teacup. It reaches outwards for miles and creates new zeniths within unforeseen horizons of rock. SLIFT is made up of brothers Jean and Remí Fossat, and Canek Flores, who first met the brothers Fossat at school. After the band formed in 2016, they quickly made their 2017 debut EP, Space Is the Key, which merged stoner rock's heaviness with the sugar-rush qualities of garage rock. From there, things only got weirder: The trio experimented with faster tempos and bongos(!) on the following year's full-length La Planeté Inexploreé, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation, racking up more than 1.4 million YouTube views. UMMON from 2020 represented SLIFT's pivot towards the celestially crushing confines of psych-metal, marked by Remí's rolling basslines and Flores's relentless skin-pounding. But nothing in their catalog could prepare you for ILION, a huge and melodically dense record that at once recalls Godspeed! You Black Emperor's perpetually uplifting surge, the passionate burn of post-hardcore legends _And You Will Know Us By the Trail of Dead, Led Zep's psychotic blues-rock mysticism, and the psychedelic swirl of Swedish greats Goat.

The Church’s Starfish is a dreamy, atmospheric masterpiece, guitar-driven alt-rock before alt-rock was a term. It includes the timeless smash hit “Under the Milky Way,” and “Reptile,” both First Wave staples.

Intervention's 2X 180-Gram LP, Artist-Approved Expanded Edition is 18-tracks total, including 8 amazing bonus tracks that were not on the original LP. These bonus tracks kick off with wonderful acoustic versions of “Under the Milky Way” and “Antenna.” The other tracks are so strong that it’s very apparent that Starfish could have been a potent double LP.

Starfish is 100% Analogue Mastered with the original repertoire cut directly from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides opening up the already massive soundstage and presenting this amazing recording with FULL bass extension and dynamic power. All of the 8 bonus tracks are 100% Analog Mastered from separate tape reels assembled by Ryan K. Smith.

The 180-gram LPs are ultra-quiet, pressed at boutique press, RTI in Camarillo, CA. Intervention replaces its stampers every 500 copies so every pressing is is a hot stamper.

Starfish’s album art was lovingly restored by Intervention's Art Director Tom Vadakan, and the original inner sleeve here is printed as the interior of a gorgeous gatefold jacket. The jacket is an “Old Style” gatefold made by wizards at Stoughton printing in LA. It's printed on heavy stock and film-laminated for superior colour depth, beauty and durability. The centre labels are printed by Dorado.



Mastering Notes
Starfish is 100% Analog Mastered from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides for maximum bass and dynamics. Even the bonus tracks were mastered 100% Analogue from tapes assembled by Ryan K. Smith.

Third studio album from leading French reggae band Ryon, featuring Na man and Tiken Jah Fakoly brass section. Since 2015, the band has been on the road playing festivals and club shows across Europe, sharing its poetic and committed inspirations.
Driven by Cam’s charisma and powerful voice, the quintet gives life to a highly positive and powerful music, between reggae, rock, french variety and even pop music. Inspired by the solar reggae music of Clinton Fearon or Steel Pulse, the band draws its inspiration from modern reggae too. In 2018, they released their second album, Z phyr, which was awarded best French Reggae Album by the renowned “Victoires du Reggae” committee.
Ryon is now back with their third studio album ‘Esperanza’, with the famous French singer N aman and Tiken Jah Fakoly’s powerful brass section as special guests. With this record, the band will spread its sunny and positive vibes as long as possible!

We Release Jazz is sooooo happy to announce the release of a very limited edition double LP for Boillat Thérace Quintet’s 1974 Montreux Jazz Festival performance, with 3 bonus studio tracks! This gem from the Geneva, Switzerland band follows the acclaimed WRJ reissue of their self-titled album (1974) and My Greatest Love (1975), their full-length with Benny Bailey. The 300-copies-only white sleeved DLP comes with the classic obi and features fully remastered audiophile-ready recordings.

Captured live at Montreux Jazz Festival, July 3rd 1974, this rare audio treat features Boillat Thérace Quintet fan-favorites including their infamous homages to Swiss Marmite ("Cenovis"), and Geneva's public transport line Tram 12 ("1224"), as well as remarkable renditions of timeless jazz numbers by Freddie Hubbard ("Straight Life" and "Backlash") and Chick Corea ("Spain").

Additionally, the double LP offers 3 bonus songs taken from the ensemble’s sessions for their self-titled debut: superb takes on Herbie Hancock’s "Dolphin Dance", Wayne Shorter’s "Adam’s Apple", and Claude Engel’s "5th of July, Dulong Street".

All in all it’s a beautiful soul-jazz/modal fest full of flair and heart, one that perfectly encapsulates the vibrant and inventive Swiss jazz scene of the 1970s. A must have for fans and collectors.

This new album from We Release Jazz follows the label’s celebrated releases of the Ryo Fukui catalogue (Scenery, Mellow Dream, A Letter from Slowboat, Ryo Fukui in New York, My Favorite Tune), Hiroshi Suzuki’s seminal Cat album, and Le Cercle Rouge soundtrack by Eric Demarsan among other jazz wonders.

Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.

Masterpiece, Big Thief's debut album, is -lled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake o­ the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things.'

Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.

Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "...a real journey, with intelligent stories and twist-and-turn melodies.

Norwegian act Ulver rose to prominence from a blacker metal-rooted background in their early years, to becoming widely known for high- calibre soundscapes & exquisite experimental & electronic art as part of their continual & ever- shifting evolution.

With a penchant for folklore- laced black metal in their formative years & with what could be considered even then to be eclectic & unconventional compositions compared to the more raw & primitive offerings from other arising acts in the scene at the time, Ulver made a big mark on the genre since their formation in the early 90's, spawning a unique & celebrated trilogy of early works which arrived in quick succession, starting with their monumental 1995 debut, 'Bergtatt', before the more serene acoustic- driven experience of 'Kveldssanger'
the following year & completed by the more feral & ferocious
utpouring of #Nattens Madrigal' in 1997.


Before this much revered trilogy, though, came 1993's 'Vargnatt'. This was Ulver's
first foray into the wilds & an exceptional debut demo, utilising what was to
become a staple acoustic guitar implementation amid melodic & often complex &
obtuse arrangements, conjured & delivered with an already advanced degree of
musicianship, with vocals appearing courtesy of longstanding frontman Kristoffer
"Garm" Rygg. This early incarnation of Ulver also notably featured Carl- Michael
Eide of Aura Noir/Ved Buens Ende fame on drums, plus this recording featured
Robin "Mean" Malmberg on bass guitar, from fellow Norwegian pioneers
Mysticum.
This edition of 'Vargnatt' marks 30 years since its original release. The audio itself
is sourced from the original DAT, plus this release contains the bonus track
'Vargnatt', captured live at Bootleg TV in Oslo, 1993 & sourced from the original UMatic, courtesy of the National Library of Norway.

A note from Lawrence English:

Occasionally ideas present themselves in ways that no one can expect. This recording from Australia’s Eugene Carchesio and the UK’s Adam Betts is one such unexpected presentation.

A couple of years ago, Eugene passed me a collection of recordings that he explained were in the orbit of his now legendary Circle Music series. The recordings, in Eugene’s particular manner, maintained an intensely rhythmic quality rooted in a deep and unwavering sense of minimalism. Eugene has a way of making a tiny cosmos from just the barest of materials. He wondered though, about mixing it up and adding something unexpected to the pieces, and asked about some drums being added.

At almost exactly the same moment, I had been reminded of the amazing work of Adam Betts, who I have been fortunate to be in the orbit of for more than a decade now. We’d first met at Bad Bonne, sharing a bill, and then crossed paths most recently in Tbilisi where he was performing with Squarepusher.

The reason Adam was on my radar though was entirely unrelated to music and it was down to the fact that he had just participated in a welsh toss competition and done quite brilliantly. Somehow, watching Adam lug those weights made me think he’d be the perfect candidate to work with Eugene on this project. To my delight, he agreed.

What results here is a melding of two incredible musical spirits, each of whom have an unerring sense of restrained energy and rhythmic ferocity. It is a parallel reading of how minimal motion can create giant affective waves of energy. It’s also a record of careful listening and generous exploration.

It’s not everyday music can emerge from such curious orbits of thought, but when it does it is a cause for celebration. With that in heart I am so pleased to share this incredible edition with you.

As the third installment of Nas and Hit-Boy's GRAMMY Award winning King’s Disease series, King’s Disease III is Nas' latest album, and marks the duo's highly anticipated return since 2021's surprise LP, Magic. Executive produced by Nas and Hit-Boy, the album finds the rap legend at his best, flowing effortlessly over signature punchy beats including "Legit," "Michael & Quincy," and "30" among others. "With ‘King’s Disease III’, the New York rapper has put the seal on a strong album trilogy that proves that, three decades in, he’s still a force to be reckoned with." - NME 2LP pressed on Ruby Red & Black Striped color vinyl, packaged in an upgraded, glossy gatefold jacket with 12x24 printed insert.

Lucy Railton trusts in the nuance of her own creative instincts on an intensely modern, quietly radical new album, her second for Modern Love.

Following her 2018 solo debut »Paradise 94’« and countless collaborations in the time since, Railton’s diverse musical circles here bleed into each other, creating an insoluble testament to a lifelong pursuit of sound. The multi-instrumentalist further articulates her own tonal register, embracing her solo strengths and trusting the process to reveal vulnerable and compelling emotional facets through a fluid mix of composition, and pure expression.

On the simplest level, »Corner Dancer« is a record that revels in the momentum of creation. Through a range of approaches, Railton gradually loosens her grip and allows her identities to expose themselves; cut to the bone, sinew and spirit of music making. Reaching outside tried and tested zones, she lands at a charged space characterised by unmetered pacing and an embrace of imperfection, using cello, viella (a medieval cello), Buchla, 808, a fan, synths, horse hair whips, a hand held harp and her own voice, across 8 tracks that arc from an opening sequence of ruptured asymmetries, to something bordering the sublime on »Blush Study’« the album’s masterful closing flourish.

In between, Railton invokes psychoacoustic, heady spins and repetitions, while also allowing space for live performance, a mode to which she feels most attuned, and here captured best on »Held in Paradise« (her violin debut) and »Rib Cage«.

Collapsing boundaries, Railton harnesses a lifetime of formal training in order to patiently trace more ambiguous, intimate and sometimes deviant shapes, operating to a fuzzed logic that loops back to themes with an ingenious underlying dramaturgy of energies, dismantling the form from the inside out, in a way that bends through feeling, rather than design.

Khanate's self titled debut (2001) has all the pleasant ambiance of a plane crash site, a bleak urban waste of mangled and torn metal beams and hissed alarms. When Khanate first issued instructions to the void in 2001, the band was embraced as the next iteration of guitarist Stephen O'Malley's tube-cracking forays into amplifier variance; a fascinating further step of vocalist Alan Dubin and low-frequency shifter James Plotkin's space charts; and a warning for the crawling-pace hammers of Tim Wyskida's drums. But Khanate was not preaching of coming doom or offering emotional catharsis. The band was totally post-dread. The worst had already happened, and would continue to happen, over and over. The 5 songs on Khanate sound like an "orchestrated root canal" (Julian Cope).

Khanate's self titled debut (2001) has all the pleasant ambiance of a plane crash site, a bleak urban waste of mangled and torn metal beams and hissed alarms. When Khanate first issued instructions to the void in 2001, the band was embraced as the next iteration of guitarist Stephen O'Malley's tube-cracking forays into amplifier variance; a fascinating further step of vocalist Alan Dubin and low-frequency shifter James Plotkin's space charts; and a warning for the crawling-pace hammers of Tim Wyskida's drums. But Khanate was not preaching of coming doom or offering emotional catharsis. The band was totally post-dread. The worst had already happened, and would continue to happen, over and over. The 5 songs on Khanate sound like an "orchestrated root canal" (Julian Cope).

White Vinyl. Sensing that defenses to their contagion were down, Things Viral (2003) withdrew from any familiar or friendly shapes. On their second offering, the band decelerated to its own tempo, freezing the decay of the debut in a shocking and powerful stasis. Pitchfork lauds, "Khanate have that skill for unfolding an action in such excruciating detail that you're slowly edged off your seat_ Things Viral is extreme enough to appeal to people who don't have any interest in metal; the members cross metal pedigrees with noise-drone-art-damage bands-- from Burning Witch and Old, to Sunn 0))), to Blind Idiot God's Tim Wyskida on drums. It's committed but not overbearing, too resolute and unyielding to resist; it'll grab your skull and hold you achingly still as it thrashes through the depths, then totally, quietly wears itself out."

“Nobody Move!”, so says Philippe Doray and his Asociaux Associés (the Antisocial Associates)! Having dynamited the end of the 70s with two radical albums – Ramasse-Miettes Nucléaires in 1976 & Nouveaux Modes Industriels in 1978, both reissued by Souffle Continu – Doray still hadn’t finished singing. Throughout the next decade he began his Composant compositeur which would document the “second period”, as he calls it, of his Asociaux Associés.

The record includes new schizo-electro songs which make the most of his association with Laurence Garcette, who also plays all sorts of keyboards. A prolongation of the first period of the Asociaux Associés, the duo updates Doray’s poetry: in reaction to the current overcast atmosphere, here are some hallucinatory fantasies to the rhythm of an infernal circle dance (« Le petit géant ») or an ecstatic waltz (“Bombés fluo”) or even coded messages stuffed into bottles and thrown into space (“Secoue le flipeur”, “Choc d’amour”).

On the bonus CD there are further iconoclastic examples: rare recordings (unpublished or even “inaudible”) of the Asociaux Associés but also by Crash, a duo that Doray formed with Thierry Müller (Ilitch, Ruth). At the controls of their experiment- bending machine the musicians multiply the possibilities: peripheral rock, arias in orbit, broken swing, industrial mantras and other joyful falsities. Enough to make you lose your mind? No... as Philippe Doray promised: it is the “jackpot qui frissonne” (the shivering jackpot) which is there to excite

Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.

On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.

Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.

While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

Emerging from the cold echoes of Reykjavík's underground music scene, ex.girls, previously known as Russian Girls, chart an inspiring journey from inception to international recognition. Founded in 2017 as a personal venture by Guðlaugur Einarsson, the act soon evolved into a vibrant, collaborative platform for kindred spirits bonded by an unyielding passion for music.

The project consists of three: frontman Tatjana Dís on vocals, alongside Guðlaugur Einarsson and Gylfi Sigurðsson. Their kinship took root at their erstwhile studio on Skúlagata in Reykjavík, where this creative sanctum became a melting pot of musical exploration, learning, and leisurely hangouts. Guðlaugur and Tantjana also ride the waves as members of the rock band Skrattar, whose album 'Hellraiser IV' saw Bjarki's experimental bbbbbb recors imprint venture outside strictly electronic music for the first time in 2021.

Despite their penchant for maintaining an enigmatic aura, ex.girls won the ‘Best Icelandic Electronic Music Song’ in 2022 with their anthem, 'Halda Áfram', released during the backdrop of the COVID-19 pandemic on bbbbbb recors, which translates to “keep on going”, became a beacon of hope during tough times in the Icelandic music scene. Their distinctive sound palette paints with broad strokes of lush arrangements cemented with a lo-fi disposition. It's a soundscape where the rumble of a crunchy bass meets a quirky sprinkle of Nordic humour, a signature style they fondly dub as 'SauerLounge'.

While the group has traditionally embraced a leisurely cadence in unveiling new music, anticipation bubbles as they gear up to their debut album, ‘Verk’. A twelve-track exploration of experimental, conceptual and unorthodox textures and sonics, with sounds and influences spanning rock and nu-wave through to electro, drone and ambient. The result? An absorbing and hypnotic trip, with twists and turns across every track, presenting a debut album that keeps you guessing minute by minute.

To be released in both vinyl and digital formats, the album will also welcome engaging remixes from artists native to Iceland and the broader global stage. In a world of ever-evolving music, ex.girls stand out as a testament to authentic collaboration, raw talent, and the art of electronic storytelling.

ex.girls ‘Verk’ LP drops via bbbbbb recors on 24th November 2023, with remixes to follow in the months ahead.