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With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

In a blizzard of delirious sonics and twis’ up samples extracted from the annals of dancehall and ragga, Seekersinternational return to Sneaker Social Club to double down on the manifesto they laid out with the original RaggaPreservationSociety EP way back in 2016.

As ever, the SKRS magic lies in their ability to convey a deep affection and serious dedication for the source material while simultaneously getting shamelessly weird with it, taking the mutant tendencies of dancehall’s wildest instrumentals and injecting some added cosmic sauce into the mix. On this new record, they’re also embracing the volatile potential of junglist breaks - always intrinsically linked to Jamaican music at the point of inception, especially in the rough and ready daze of ragga jungle.

‘No Parasites (Lickshot)’ is a fierce mission statement, raining down mayhem without ever slipping into familiar modes - the emphasis is on the ragga, the jungle is there as a piquant flavour in the stew, but as ever the SKRS sound remains entirely out on its own. In contrast, ‘CaughtUp (HeartBreaks)’ almost edges closer to hardcore structures, but something keeps slipping in to run the interference, hovering just beyond perception for that all important woozy feeling.

‘2GoldChain (DriveUCrazy)’ is cut up enough to be another interstellar voyage, but here SKRS keep the music back in the mix and let a tapestry of chat lead out front as though capturing a casual street level chaos - bewildering and familiar in equal measure. ‘OriginaloftheOriginal’ completes the set with an earth-shattering script flip once more, coming on like square wave grime and half-speed breakbeat set to emotional stun. If it takes a minute to make sense, that’s because you’re hearing something entirely new.

Across 2LPs comes a unique collection of authentic 70s nostalgia.
Blissful and relaxing, compiled together onto vinyl is the warm sound of 32 of the decade’s finest works of easy listening pop.
Find classic lounge tracks from The Manhattan Transfer, Neil Diamond and Demis Roussos alongside Dionne Warwick, Commodores, Billy Joel and many more.

BASSIST/COMPOSER PETROS KLAMPANIS LOOKS TO PAST AND FUTURE AS HE TRANSFORMS TRADITIONAL GREEK MUSIC WITH TORA COLLECTIVE

Unique instrumentation bridges Greek folkloric and modern jazz worlds, with Klampanis (bass, artistic direction), Areti Ketime (vocals), Thomas Konstantinou (oud, laouto), Giorgos Kotsinis (clarinet), Kristjan Randalu (piano), Ziv Ravitz (drums, electronics, co-production) and more.

Following up his acclaimed recent outings Rooftop Stories and Irrationalities, bassist and composer Petros Klampanis creates one of his most inventive musical settings to date with Tora Collective, his sixth album as a leader. For Klampanis, who grew up in Athens, Greece
surrounded by the confluence of Mediterranean and Balkan folk cultures, making music has always meant navigating cultural crossroads. With Tora Collective (“Tora”=“Now”) he puts traditional Greek music at the centre, even as he presents it from a bold new angle.

In addition to the two new originals “Disoriented” and “South By Southeast,” Klampanis and his compact hybrid jazz/Greek folk ensemble interpret popular Greek songs such as “Xehorismata,” “Sybethera,” “Hariklaki” and “Menexedes ke Zoumboulia.” These songs, Klampanis asserts, are “not just part of Greek cultural heritage or a fragment of the past, but also as part of the future: they live into the present, breathe into the ‘here and now,’ while constantly evolving in a dynamic state and in dialogue with contemporary music.”

“For me it’s a personal thing,” he says. “I want to reflect on what Greek music and culture offer the world. How can music from the Aegean to Epirus and from the Ionian Islands to Crete, meet and speak to the hearts and minds of musicians and audiences from different parts of the world, different traditions and backgrounds?”

To that end, Tora Collective draws on regional characteristics, as Klampanis explains: “Every region has a strong identity. In Epirus the clarinet is more prominent and the music has this slow, groovy, meditative vibe. The islands are lighter sounding, Macedonia is groovier, faster tempos and energetic dances. Music from Asia Minor or Istanbul is more sophisticated. Greeks often refer to Istanbul as ‘Poli,’ from Constantinopoli, so the songs from there are called ‘Politika.’”

There is magic in the clear and consistent voice of Areti Ketime throughout Tora Collective, as can also be said for the supremely voice-like articulation of Giorgos Kotsinis on clarinet. Ziv Ravitz, on drums and electronics, also plays a pivotal role as coproducer: “He added so much in the orchestration,” says Klampanis. “His knowledge of electronics, all these non-acoustic sounds and keyboards, treatments of the acoustic instruments, it’s all because of Ziv. He brought a new perspective on the whole thing.”

The string element in Tora Collective is also strong: in addition to Klampanis’ bass there is Thomas Konstantinou on oud and the traditional Greek laouto, as well as Kristjan Randalu (the pianist in Klampanis’ Irrationalities trio) providing an anchor and bringing Klampanis’ inventive arrangements into harmonic focus. Additional guests appear: Alexandros Arkadopoulos on clarinet for “Disoriented,” Laura Robles on percussion for “South by Southeast” and trumpeters Sebastian Studnitzky and Andreas Polyzogopoulos on “Milo Mou ke Mandarini” and “Hariklaki,” respectively. (“Milo Mou” is slated as a post-release bonus track.)

Using traditional Greek music to discover a common new voice, the project aims to build dialogue, spark creativity, cultivate respect for the past, pave a path forward, discover a new musical storytelling powerful enough to reach and touch audiences in many countries. This is an experiment that bridges worlds: the east and the west, the traditional and the modern, the nostalgic and the forward-looking, using the power of music and improvisation.

Re-Discover mythical 60"s Hits sung by Soul, Funk, Rock & Folk Icons in the unique double Vinyle!

Sound Of Smoke sind eine vierköpfige Psychedelic Soul- & Bluesrock Band aus Freiburg mit einem ordentlichen Vintagevibe. Die Bandmitgliedern um Frontfrau Isabelle Bapté schaffen es mit einem Mix aus Blues, Soul und Stonerrock auf eine Reise durch die Zeit mit zu nehmen, als Klänge a la Jefferson Airplane, Black Sabbath und Led Zeppelin in Ihren Bann zogen. Mit "Phases" veröffentlicht das Freiburger Psychedelic-, Soul- & Bluesrock Quartett kaum ein Jahr nach der Platte "Tales" ihre zweites Album über Tonzonen Records. In zahlreichen psychedelischen Jamsessions entstanden elf neue Songs, welche man im legendären Big Snuff Studio in Berlin aufnahm. Das Album wurde in einer 10-tägigen Session komplett analog mit der Technik aus den 60er & 70er Jahren auf Tonband von Szenen-Ikone Richard Behrens (Kadaver, Elder, Odd Couple, All Them Witches uvm.) aufgenommen. "Phases" überzeugt mit eingängigen Bluesrockriffs, orientalische Klängen, bis hin zu schwebenden, sphärischen Klangwelten aber auch Krautrock. Das Leitmotiv bleibt jedoch Isabelle Baptés versiertes Flötenspiel und ihre warme, individuelle Stimme, welche Grace Slick wieder aufleben lässt. Florian Kiefer, welcher den Titel "Reincarnation of Lemmy Kilmister" mit seinem markanten, grollendem Basssound (und Backenbart) für sich beansprucht, bildet mit Johannes Braunstein ein groovendes Fundament im Stile von John Bonham. Getreu dem Motto "Im just tryin to write the best guitar riff in history" wie schon einst Jimmy Page oder Richie Blackmore und einem Faible für Wildwestromantik, trägt Jens Stöver letztlich das gewisse Etwas zum "Sound Of Smoke" bei. Veredelt wurde "PHASES" danach noch mit Orgel- und Synthoverdubs von Isabelle und Florian. Sound Of Smoke freuen sich mit " Phases" ihr anspruchsvollstes Album einem großen Publikum präsentieren zu können.

Clear Vinyl

OMEGA INFINITY: Die Geschichte des endlosen Kreislaufs von Geburt und Tod, erzählt auf kosmischer Ebene, betrachtet aus der Leere, die die gesamte Existenz durchdringt.

Das Debütalbum "Solar Spectre" (erschienen 2020 bei Season Of Mist) bot einen düsteren und verstörenden Soundtrack für die Reise durch unser eigenes Sonnensystem, indem es wütenden Black Metal der 90er Jahre, harsche und bedrohliche Ambient- und Elektronikklänge mit kraftvollen Growls und Schreien kombinierte und bei seiner Veröffentlichung überwältigend positive Presse- und Fanreaktionen erhielt.

Nicht zufrieden mit nur einem einzigem Statement und einer größeren Vision für ihre Sicht der Leere folgend, hatten Tentakel P. (TODTGELICHTER) und Xen (NE OBLIVISCARIS/ ANTIQVA) zu diesem Zeitpunkt bereits ihr zweites Album fertiggestellt - nur die Pandemie verhinderte die Gesangsaufnahmen und somit eine frühere Veröffentlichung.

"The Anticurrent" eröffnete dem Hörer nun einen ganz anderen Blick auf Die Leere. Statt der Schwärze des Raums erforscht das Folgewerk die Zeit: Vom Urknall und der chaotischen Geburt des Universums geht es über den Aufstieg und Niedergang der menschlichen Zivilisation bis hin zum unausweichlichen Ende des Universums in dem bedrohlichen Finale des Albums.

Kein OMEGA INFINITY-Album wäre vollständig ohne Coverversionen (SEAR BLISS und EMPEROR) und die Beteiligung von Freunden mit Gastbeiträgen: Zusammen mit der Band kündigen (in der Reihenfolge ihres Erscheinens) Adrienne Cowan (SEVEN SPIRES/ AVANTASIA), Lindsay Schoolcraft (ANTIQVA/ ex-CRADLE OF FILTH), Andras Nagy (SEAR BLISS) und Marta J. Braun (TODTGELICHTER/ VYRE) den Untergang an

Wer schon immer mal wissen wollte, wie sich eine Unzahl von Schwarzen Löchern, die sich selbst in einer Zeitverzerrung verschlingen, anhört, sollte sich OMEGA INFINITYs zweites Album "The Anticurrent" nicht entgehen lassen!


Für Fans von: DARKSPACE, KHONSU, VALBORG, BLUT AUS NORD

Avant-garde pioneer Eric Dolphy achieved incredible things with the bass clarinet, establishing it as a vehicle for solo improvisation, and was equally adept on alto and flute, gaining kudos from peers such as John Coltrane and Charles Mingus. Outward Bound holds a special place in jazz as Dolphy’s first LP fronting his dynamite quintet, leaving conventions behind from the get-go. With the entire group on tremendous form throughout and Dolphy reaching the heights of his genius, this is a stellar release from a giant whose star shined brightly and briefly, until his tragic early death from undiagnosed diabetes.

Incl. Bonus tracks "April Fool" and "245 (alternate take 1)"

Often credited as the “Mother of Hip-hop”, Sylvia Robinson was a seminal blues-turned-soul singer, producer, and writer who released a slew of sultry and sensually charged records in the 1970s as a solo act and in the duo Mickey & Sylvia. Pillow Talk remains her most intoxicating work; a steamy bedroom funk record featuring her illustrious breathy, intimate vocals embedded with silky acoustic guitars, lush orchestral strings, piloted by a series of soft, subtle, and seductive clubby rhythms that still sounds fresh and entrancing today.

Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally issued as a 10 8243; LP titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers.

Includes the song 'If The Moon Turns Green' from the same session but not included on the original LP.

Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally issued as a 10 8243; LP titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers.

Includes the song 'If The Moon Turns Green' from the same session but not included on the original LP.

Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally issued as a 10 8243; LP titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers.

Includes the song 'If The Moon Turns Green' from the same session but not included on the original LP.

Clouds Without Water is a project that came about after the chance meeting of two ambient experimentalists. They were both in attendance to perform at the same electronic music festival but came together over their shared love of Bristol Sound. Working over long distances and through the isolation of the pandemic, they sent tracks to each other "without plans or discussion, only wordless questions buried in the music." What resulted was this album, which evokes celestial dreams, moon-lit otherworldly landscapes and plenty of deep introspection. It is space music for spacing out to.

The first LP by Bloedneus & de Snuitkever, MILLI MILLE. Finally on wax, it’s Lukas De Clerck’s musical vehicle for his explorations with the aulos, that ancient reed instrument that mainly satyrs and archeological enthusiasts found beguiling. Equipped with his handmade pipes and the artful sense of devotion of a true modern-day aulete, De Clerck has dug deep into the technical and cultural peculiarities of this long-silenced instrument, paying it the kind of attention and mindfulness that Marsyas the satyr so lacked when he challenged Apollo and his lyre to that ill-fated musical match. But beyond merely resuscitating an ancient cult, De Clerck as Bloedneus gives the aulos a different kind of renaissance where its penetrating qualities are expanded and expounded to effects worth every nosebleed, paving new grounds in these practices of old.

MILLI MILLE hints at mysteries universal to humans of yore, present and morrow, like a Joseph Campbellesque recounting of transcendental journeys through drones and extra reverb. Elegiac modes encounter pastoral vibes that are punctuated by sly baroque flourishes, all pointing to the timelessness of the aulos’s sound - one can easily imagine its power of enlightenment through many ages. Yet in MILLI MILLE, an insistence on the fickleness of the instrument surfaces through disorienting, perception-shifting blasts and a compulsion to push the aulos to its fullest and most destabilizing potential. This is the flavor that Bloedneus & de Snuitkever imbues into that dormant canon, one that permeates the atmosphere long after the last note puts an abrupt end to these vibrations. The satyr’s song rings on, leaving the air abuzz with a timeless pulse that holds the promise of sounds still to be unearthed.

Red Vinyl

Die 6 Musiker der Band Maerzfeld sind nach der langen Corona-Zwangspause zurück. Während der Pandemie hatte die Gruppe um Sänger Heli Reißenweber ihrer deutschsprachigen Rockmusik ein neues akustisches Gewand verpasst und war - wie der Franke sagt - "Anblaggd" auf Tour. Nun werden die Akustikinstrumente wieder gegen ihre elektrifizierten Pendants getauscht - allerdings nicht ohne etwas aus den Erfahrungen der vergangenen anderthalb Jahre mitzunehmen: Der intime Kontakt zu unserem Publikum und der pure Sound hat bei den zurückliegenden Shows eine ganz besondere Energie erzeugt, die wir beibehalten wollen", so die Band.

Alles anders, so der bewusst plakativ gewählte Titel des neuen Maerzfeld Albums.
Die Welt ist nicht mehr die gleiche wie vor 3 Jahren und auch für die Musiker gab es prägende Erlebnisse und damit verbundene Veränderungen, die in den neuen Songs verarbeitet werden und einen oft sehr persönlichen Einblick in das Gefühlsleben der einzelnen Künstler erlauben.
So hört und spürt man eine Mischung aus Depression, Hoffnung, Wut, Verzweiflung, Freude und Mut. Dabei macht Maerzfeld gleich zu Beginn des Albums mit dem Titelsong klar, dass die Band neugierig auf die Zukunft blickt und Veränderung als Chance versteht mit Gewohnheiten zu brechen. Daher ist nun im positiven Sinne "Alles anders".

Adam Lambert war schon immer bestechend gut darin, die Songs anderer Künstler und Künstlerinnen zu interpretieren – von seinen Anfängen bei „American Idol“ über seinen Auftritt bei den Kennedy Centre Honours 2018, wo er Cher mit seiner fast zärtlichen Version ihres Megahits „Believe“ zu Tränen rührte, bis hin zu seiner Rolle als aktueller Sänger von Queen.

Nun geht der Grammy-nominierte Künstler konsequent den nächsten Schritt und kündigt ein ganzes Album ausgesuchter Coversongs an. „High Drama“ erscheint am 24. Februar 2023 und markiert zugleich sein Debüt bei Warner Music. Schon jetzt gibt es zwei Songs daraus zu hören: „Ordinary World“, eine kraftvolle, atmosphärische Balladenversion des Duran-Duran-Hits von 1993, sowie Lamberts wunderschöne Interpretation des Noël-Coward-Klassikers „Mad About The Boy“ aus den 1930er-Jahren. Fans des Musikers werden wissen: Er performte den Song kürzlich bereits im Rahmen der BBC-Show „Strictly Come Dancing“ (siehe unten). Außerdem wird Lamberts Version auch in dem kommenden Film „Mad About The Boy — The Noel Coward Story“ über das Leben des Noël Coward zu hören sein, der kommendes Jahr in die Kinos kommt.

„High Drama“ – der Titel des neuen Albums ist natürlich nicht von ungefähr gewählt, denn der US-Amerikaner liebt die große Geste. Und wir erleben ihn hier mehr denn je als einen Künstler, der sich in seiner eigenen Haut wohlfühlt, der voll und ganz er selbst ist – und jede Minute davon auskostet.

Bei seinem neuen Album übernahm Adam Lambert auch die Rolle des ausführenden Produzenten, die Songs selbst wurden produziert von Tommy English (Kacy Musgraves, Carly Rae Jepsen), Andrew Wells (Halsey, OneRepublic), George Moore und Mark Crew. „High Drama“ nimmt uns mit auf eine Reise durch die moderne Musik, von Klassikern wie Ann Peebles' „I Can't Stand The Rain“ und Bonnie Tylers „Holding Out For A Hero“ bis hin zu Hits jüngeren Datums wie Billie Eilishs „Getting Older“ – hier in einer Glam-inspirierten Version – und einer rockigen Interpretation von Lana Del Reys „West Coast“. Gemeinsam haben alle Songs, dass sie sich durch Adam Lamberts unvergleichliches Gesangstalent auszeichnen.

Aktuell arbeitet Lambert übrigens auch an seinem eigenen Musical, bei dem sich auf eigene Songs von ihm und eine Starbesetzung freuen kann.

‘Change’ is the brand-new album by Anika, the first solo music from theBerlin based artist in 8 years.
A British ex-pat and former political journalist, Anika has collaborated withBEAK>and Tricky and released two albums with Mexico City’s Exploded.
View to great acclaim. The single ‘Change’ tackles personal growth as well as wider issues and grapples with eternal questions as to whether one can ever truly change.
It has been 11 years since the release of her last solo album, 2010 cultfavourite ‘Anika’; she suddenly found herself with a lot to say. “This album had been planned for a little while and the circumstances of its inception were quite different to what had been expected. This coloured the album quite significantly. The lyrics were all written there on the spot. It’s a vomit of emotions, anxieties, empowerment and of thoughts like - How can this go on? How can we go on?”
The intimacy of its creation and a palpable sense of global anxiety are
seemingly baked into the DNA of Change. Spread across nine tracks, the central feeling of the record is one of heightened frustration buoyed by guarded optimism. The songs offer skittering, austere electronic backdrops reminiscent of classic Broadcast records or ‘High Scores’-era Boards of Canada, playing them against Anika’s remarkable voice - Nico-esque, beautifully plaintive and - in regards to the record’s subject matter - totally resolute. Incantatory tracks like ‘Naysayer’ and ‘Never Coming Back’ are both a call to arms and a warning. “‘Never Coming Back’ was written after reading Rachel Carson’s ‘Silent Spring’,” she explains. “I was living in the old East countryside outside of Berlin, where there seemed to be no shortage of birds. Apparently their numbers have dropped significantly, but it is one of these changes that we never really stop and notice. We take things for granted, until it’s too late. With all this other noise
going on, care for the environment has quickly been moved to the backburner. So long as we get what we want NOW and on demand, who cares about whether we are taking care of the future?”

But when 19 Naughty III was released on February 23, 1993 with the lead single Hip Hop Hooray the group proved that they could recreate that magic. Celebrating its 30th Anniversary this year, the album has been certified platinum and "Hip Hop Hooray" has become a hip hop anthem. The single was #1 on the charts, earning the band their second Top 10 hit, with the video directed by Spike Lee, featuring
appearances from Tupac Shakur, Run-DMC and more. The album also contains the hits "Written on Ya Kitten" and "It's On" and has guest appearances from Heavy D and Queen Latifah. Production was handled entirely by group member KayGee, who has one foot in the clubs and the other one on the street corner, and that's true of the group as a whole.

Sublime Frequencies is honored to release the third LP from Baba Commandant and the Mandingo Band. Sonbonbela was recorded in the beginning of 2022 in the Republic of Burkina Faso. The group continue to hone their trademark fusion of Mandingue and afro-beat styles. The Mandingo Band are a hit machine, sculpting seven new tracks of near Beefheart/Magic Band dynamics, Fela inspired groovers dusted out in the Sahel zone, rather than the humidity and sweat of Lagos, creating one of the most original and propulsive musical statements to come from the contemporary West African cultural juggernaut. As with previous releases, the band features the legendary guitar pyrotechnics of Issouf Diabate, truly one of the greatest West African (or Earth for that matter) guitarists of the last forty years. The band is completed by a near bottomless barrel of artistry from the Ouagadougou and Bobo Dioulasso musical talent pool. On bass guitar, Wendeyida Ouedraogo, on drums Abbas Kabore, and on percussion and balafon, Nickie Dembele. Leading the charge again is the captain himself, Mamadou Sanou on the Doso Ngoni featuring one of the most distinctive voices of the modern era. The opposite of the banal trends of auto-tune that have pervaded most of West African popular music, Baba’s voice still impresses with its gravel and grit, showcasing a range that is ancient and defiant in equal measure. This LP is a non-stop hit parade of afro-beat bangers destined to light dance floors and living rooms ablaze!!! This album is dedicated to the memory of Massimbo Taragna, the bass player extraordinaire who was an integral part of the Mandingo Band’s trance stun musical power. He passed away in early 2022. RIP TRACKLIST: Side A: CHASSER LES SACHETS, KAMELEBA, AFRO MANDINGO, SEMAYALA Sida B: SEREJUGU, SONBANBELA, WARIKO

2023 Repress

Two years ago Credit 00 was lucky enough to find a flat with a winter garden in the midst of the city's concrete vastness. Setting up his studio there, surrounded by plants, facing the backyard oasis with its trees, bushes and birds singing all day was quite the opposite of his usual work environment. The contrast of being in nature whilst surrounded by an urban neighbourhood is explored on Credit 00's latest outing on Uncanny Valley. Two different settings represented on either side of the vinyl record. The street side of the building is Credit 00's typical habitat: rough drums, face melting acid and ghetto style track arrangement. R U READY 2 JACK pays tribute to Belgium New Beat and wants to sound like Hardcore that is coming from the heart. TRUE 2 THE GEHM is an ode to one of the true German Acid innovators, Andreas Gehm (R.I.P.), originally written in 2016 for a compilation, which raised money to help him cover expenses incurred due to his severe health issues. The backyard side reveals the influence of flora and fauna on Credit 00's work. On both THE GARDEN and DEEP IN THE JUNGLE, you can hear his synthetic interpretation of mother nature's repertoire. Birds chirping, acid frogs croaking and the wind blowing through the trees to the sound of jungle drums. Despite all the differences between the concrete and the green jungle, there are also a lot of similarities. As the artwork (hand-drawn by Credit 00 himself) illustrates, graffiti spreads all over buildings like wild vine grows on rocks: chaos reigns everywhere, whether in natural or man-made environments!

V.I.V.E.K announces his second release on the self-named VIVEK label. Known for his cult label, SYSTEM MUSIC, this label focuses more on eclectic 140 bpm outside the realm of the dance floor.

The 4 track EP explores broken beat, ambience, melody and rhythm at 140, something that has been missing over the last few years within the genre. Colours is not only the EP title, but a reflection of the diversity of the tracks. Musicality sits at the heart of this with a nod to easy listening.

“The main focus of this release was to take me out of my musical comfort zone. I wanted to work with other musicians as well as push myself to inhabit new creative ideas.” - V.I.V.E.K

Whether it’s as an artist, label owner, a deep-drawing world-touring selector or system-building soundman behind some of London’s most important dances, V.I.V.E.K has an inherent drive to push things forward and contribute to the craft of music with serious attention to detail. A life-long frequency student dedicated to soundsystem culture, he has total respect for the heritage, value and rich variety of true music, an ability to totally arrest your full attention and imagination with his music... And has done so since he emerged in the early 2000s.

Musically pressed and blessed on key imprints such as his own System Music, Deep Medi, Tectonic and iconic reggae imprint Greensleeves, V.I.V.E.K’s creations are a crucial brew of bass styles encompassing everything from heavyweight bass hypnosis to flighty, steppy garage hybrids via sweet dub soul and all-out low-end pressure. His self-built custom soundsystem, SYSTEM, meanwhile, is a unique force of nature in UK bass music culture; the most prominent modern system to be established this decade, it’s a whole new chapter in the UK’s longstanding and illustrious history of barrier-breaking soundsystem communities. As such, it attracts committed fans from around the globe and selectors from across the system spectrum.

His label System Music has the same treasured, trusted status; not only as a source of legit never-to-be-repressed artefacts that prize the real value of music, but also as a key platform for encouraging forward-thinking, powerful system music from across the OG – freshmen continuum. Karma to Kromestar, Sleeper to SP:MC, LAS to Egoless: System Music’s celebration of bass music’s sonic scope and nurturing of talent and craft ensures its consistent buy-on-sight ranking.

Most importantly it’s as a selector that V.I.V.E.K’s position is the most vital. The selective tailor of rich, immersive and eclectic sessions, few DJs dig as deep, join the dots or draw for dubs quite like this West London operator. Accentuating his influence as a producer, engineer, dubsmith, label curator and system builder; his creative excursions as a DJ, both on the dancefloor and the airwaves as a broadcaster on the likes of Rinse FM, galvanise his status as one of the most respected, influential and singular artists who is driven by nothing but craftsmanship, unity and the sense of culture that UK bass music needs to thrive and inspire.

Local Action is proud to present Cyclorama, the long-awaited debut album by Ariel Zetina.

A resident DJ at Chicago’s iconic Smartbar, a long-standing Discwoman family member and a key part of the city’s dance music and LGBTQ+ communities, Ariel has established herself as one of the most exciting electronic artists operating today - through releases such as 2020’s acclaimed MUAs at the End of the World and 2017’s Organism, and her meticulous approach to DJ mixes - as recently evidenced on Sestina, her 2020 contribution to Mixtape Club.

Written across 2021 and honed this Spring, Cyclorama is Ariel’s most impressive and all-encompassing work yet, showcasing her as a producer, vocalist and also curator, pulling together an ensemble cast of her peers in Chicago (Cae Monāe, Mia Arevalo, DANNN) and some of the most exciting names in contemporary club music (Violet, Bored Lord).

Conceptually, Cyclorama draws heavily from Ariel’s background as a theater writer and producer. Popularized in 19th century German theater, a cyclorama (or cyc) is a large curtain, placed on the back wall of the stage. This creates an illusion of extra depth in the background, and often is used to represent the sky. In Ariel’s words, “I imagine all the tracks on this as the lights and action projected onto the cyclorama. The whole album is like the cyc, a representation of the sky. Or an imagined sky. An imagined dancefloor. An imagined theatrical production.”

As well as drawing conceptually from Ariel’s background in theater, the album draws on a personal level from Ariel’s journey as a trans woman of color - most directly on Cyclorama’s three vocal tracks, ‘Gemstone’, ‘Slab of Meat’ and lead single ‘Have You Ever’.

On ‘Have You Ever’, Ariel collaborates with Cae Monāe, a dear friend and fellow trans woman of color. “‘Have you ever been with a girl like me before?’ and all the lyrics refers to the fear and anxiety that cis men who are attracted to trans women feel, and also any woman that doesn’t fit the mold of a stereotypical woman”, Ariel explains. “Cae and I - and many trans women - have been in so many situations where society tells cis men they cannot be with trans women and this explores that and gives power to all trans women in this situation. The techno reflects that, as well as the “Spell my name” section at the end, showing the true power of trans women.”

On ‘Slab of Meat’, Ariel delivers a hypnotic solo vocal performance that builds in intensity with each line (“I am treated like a slab of meat both emotionally and sexually sometimes, especially one left in the freezer on the back burner. Why did you bring this meat home from the market? For what? You’re wasting meat!”), while ‘Gemstone’, a collaboration with Mia Arevalo, continues the empowering themes of ‘Have You Ever’ in a different context:

“‘Gemstone’ is a call for trans women to take time with your transition because it will all happen eventually. As two girls who have started our transition almost a decade ago, I think we have both seen that we have always needed to take our time to take our time. Reminders not to rush or compare yourself to other girls. I love the metaphor of gemstone months representing different periods of transition. I’ve been so many different women in recent years, and I'm excited to continue my journey.”

It’s immediately followed by album closer ‘Tropical Depression’, the title of which is a reference to Ariel growing up with tropical depressions, storms and hurricanes affecting her hometown of Jacksonville, Florida as well as her family in Belize City:

“This track for me is about living day to day and continuing while dealing with my really intense clinical depression. The sample comes from “Why can’t you let me go?” but is supposed to be transformative and not necessarily legible. How we hold on to our trauma and depression like a protective shell. This is an attempt to deal with it in a different way.”

The Cyclorama album cover, directed by Dylan Bragassa, stars Ariel alongside Monāe and Arevalo in an imagined theater production. In Ariel’s words, “a theoretical performance starring only trans women of color - I wanted an ensemble shot to represent the ensemble nature of this album! Love how Dylan combines so many ideas to create a very unique image that asks so many questions.”

Die gesellschaftliche Relevanz vieler Songs von Udo Lindenberg ist bis heute eine wahre Besonderheit. Allen voran sein Erfolgs-Hit ”Sonderzug nach Pankow” aus dem Jahre 1983.

In eben jenem Lied - basierend auf der Melodie von Glenn Millers Swing-Klassiker ”Chattanooga Choo Choo”- befasst sich Udo Lindenberg textlich auf ironisch-satirische Weise mit Politiker Erich Honecker, dem ehemaligen Staatschef der DDR.

Er sinniert über dessen angebliche Vorlieben heimlich Lederjacken
zu tragen und in seinem Land verbotene westdeutsche Radiosender auf der Toilette zu hören.

Auch wenn der Song dort vermutlich eher weniger auf Anklang stieß, wurde die am 2. Februar 1983 veröffnetlichte Single ”Sonderzug nach Pankow” ein voller Erfolg und gelangte direkt in die Hitparade der
BRD, wo sie Platz fünf erreichte und für vier Wochen blieb - seine bis dahin beste Hitparadennotierung!

Nun, ziemlich genau 40 Jahre später, erscheint über Universal Music die Neuauflage der geschichtsträchtigen Hit-Single erstmals auf farbig-transparentem 7“ Vinyl (nummeriert und limitiert auf 1983 Exemplare) um dieses historische Musikjubiläum gebührend zu feiern und zu ehren.

2023 ist ohnehin DAS Jubiläumsjahrbei Udo: Sein Panikorchester wird 50 Jahre alt!
Der Vorverkauf startet am 13.01.2023, offizieller Release ist für den 24.02.2023 angesetzt.

The soundtrack of "New World," which opened a new chapter in Korean film history, is finally released on vinyl. Composed by Cho Young-wook,

who made his debut with "The Contact," was praised by Martin Scorsese for his soundtrack to "Old Boy," and has won a prestigious film festival award with

the recent film, "Decision to Leave."

A Flock of Seagulls gleichnamiges Debütalbum wurde
1982 veröffentlicht und erreichte die Top 10 der
US-Charts, wobei die Hitsingle "I Ran" bis auf Platz 9 der
US Billboard Hot 100 kletterte. Das Album - mit seinen
bahnbrechenden New-Wave-Produktionstechniken - erhielt
damals begeisterte Kritiken und wurde von Produzent Phil
Spector als "phänomenal" bezeichnet.
Diese Sonderausgabe zum 40-jährigen Jubiläum enthält
das Originalalbum in remasterter Form sowie B-Seiten,
Singles, BBC-Sessions und ein BBC-Konzert im Paris
Theatre, London, das ursprünglich im Januar 1982
ausgestrahlt wurde. Darüber hinaus enthält "A Flock Of
Seagulls (40th Anniversary Edition)" als 3CD Edition von
dem Journalisten John Earls zusammengestellte Liner
Notes, die ein Interview mit dem Leadsänger und
Gründungsmitglied der Band Mike Score enthalten. Des
Weiteren erscheint das Album als limitierte remasterte
1LP-Edition auf orangefarbenem Vinyl

Holy Shit! A new player in town with 2 smart dancefloor classics.
Joyful A side with polish reggae mash up hero Dreadsquad with one of his most classic mash up.

The flip sees the debut of Albanian artist Toni Cicoria. All the way from Tirana, Toni take advantage of this long time classic Italian rap, and deliver a real SM Click experience.

Blackploid has become one of Central Processing Unit's stalwarts in the past couple of years. Martin Matiske's project contributed a trio of EPs to the Sheffield label across 2021 and 2022, with each of them showing off the kind of electro chops and production sensibilities that made Blackploid an ideal fit for an imprint which also boasts the likes of Cygnus, Silicon Scally and Bochum Welt among its catalogue.

Now, for CPU's first release of 2023, Matiske levels things up with the debut Blackploid LPEnter Universe. Across these twelve tracks, Matiske leaves us in no doubt that he's a prime mover in the world of modern electronic music.Enter Universedoes not let up from start to finish, delivering a dozen pieces of leftfield electro that draws from the sound's greats while also showcasing an unpredictability and flair that is all of Blackploid's own.

The tone is set from the first frosty chords of opening cut 'Pulsation'. The track traverses the starscape on pitter-patter drums and chirruping synths, a lively and slightly dystopian roller with an adventurous undercurrent reminiscent of classic Rephlex drops. It's a style which Blackploid often draws for throughout the rest ofEnter Universe, albeit with elements added or subtracted at each stage.

Indeed, this album features some of the most unusual production you will hear on any record this year. While the grooves pulse away in a manner reminiscent of Drexciya or Legowelt, Blackploid layers the mixes with a whole cornucopia of synth tones. 'The Mission' boasts a bleep-bloop breakdown that sounds like malfunctioning rotary telephones; 'Silent Room' is a ghoulish jam which harks back to Warp's legendary Artificial Intelligence compilations; 'Automatik' and 'Wormhole' are defined by some brilliantly strange low-ends - you'll be thinking of Mr. Oizo's 'Flat Beat' with the wiggly former, while the gurgling, writhing anti-lead that dictates 'Wormhole' is oddly thrilling and more than befits the track's title.

This inventive approach is also apparent in some of the structural choices onEnter Universe. While the tracks here all keep a steady, dancefloor friendly pulse, several of them surprise you by switching up the approach after a minute or two. 'Pulsation', 'Automatik' and 'The Mission' all feature moments where a new element - extra hi-hats, a synth line entering from leftfield - inject fresh impetus into the tune to keep the listener on their toes.

Blackploid may push the sonic envelope onEnter Universe, but this does not mean there is no room for melody. In particular, the cuts here which most strongly channel 'Computer World'-era Kraftwerk do so by fronting some slyly tuneful work, particularly in the low end of the mix. 'Unidentified' serves up delightfully springy chords, 'Cell Mutation' leads from the bassline, and 'Space Curve' features little cells of melody and counter-melody working together to closeEnter Universeout on a high.

Blackploid's debut LP Enter Universe marries Drexciyan electro and Warp-school electronica with some brilliantly inventive production choices.

Wax Tailor announces the release of his new album "Fishing For Accidents" on February 10th, 2023, accompanied by a new international tour.

"The starting point of this record is a quote from the film director Orson Welles, which evokes the notion of accident in the creative process. I always thought that accidents were an integral part of creation and the job of a film or music director is also to know how to capture them in order to make the accident an artistic intention. I decided not to follow a well established concept but this more instinctive guideline and to go fishing for accidents".

In this new opus, Wax Tailor explores with his sampler a world of vinyls and cinematographic references, brandishing as a flag a stamped musical culture and multiplying references to the 7th art in a music written in 33 rpm and 24 images seconds. After the dark "The Shadow Of Their Suns" released in 2021, Wax Tailor takes us with "Fishing For Accidents", on a brighter and more colorful side without ever betraying his universe and his convictions.

A multi-recidivist talent scout, he gathers around him a prestigious cast ranging from hip hop (Mick Jenkins, Mr. Lif, Kuf Knotz, Lojii, Napoleon Da Legend, Ill Conscious, Voice Monet, David Bars, Mattic) to the indie rock scene (Jennifer Charles, singer of the legendary band Elysian Fields and Victoria Bigelow).

With one eye on the past and the other on the horizon, Wax Tailor instills the incandescence of an organic sound and distills his art of sound anachronism in a wide gap between nostalgia and modernity that has made him one of the leaders of the international electro hip hop scene for over 20 years.

Yung Bae had already proven his capabilities over the past two years, but his album Ba3 really shows off his mastery in making Grade-A funk.

The intro “Back to the Classics” starts off with a vinyl crackle and a groove that acts as a warm-up to the rest of the album. We then get kick-started into the thick funk of “I Want Cha Back” with a burst of horns and bass that’s going to get any party up and dancing.

The undeniably groovy beats continue throughout the album, the only break coming in with the fittingly titled “Mellow (Interlude)” which gives some respite before kicking off into the album’s finale. The album’s closer “Pillow Talk” provides the perfect laid-back jam to serve as the comedown from the high the entire album provides.

This album is a must-listen for anyone who appreciates good funk!

Two rarities from Deadmau5’s illustrious collection get a much deserved repress. First up ‘People Are Still Having Sex’, a cover version of the 1991 original by LaTour that was produced in Deadmau5’s mid-2000s heydays and has never been released on vinyl before. Trademark big beats and electrified synths lay the foundation for the looped-up hook vocal to run wild.

On the flip the twisted, tribal channelling John Made remix of 'Desynchronized' from 2009 that has previously only ever been available on a bootleg release, now officially released for the first time.

Following up on the success of House Of Riviera released in 2019, Mona Musique releases House Of Riviera Volume 2 curated by label head Nick V, a compilation that pays homage to forgotten gems of the classic Italian House scene, circa 1991-1994. 9 tracks from the artists and record labels that were central to this seminal era of House music, including two never released cuts from Ricky Montanari, Davide Ruberto and Ivan Iacobucci.

In the early 1990s, Italy hosted one of the most prolific scenes in the burgeoning world of House music. Whilst the majority of Europe was only just beginning to digest the arrival of this new musical genre born in the US, Italian clubs, DJs and labels were hot on the heels of their counterparts in the already established scenes of New York and London. The clubs of the Adriatic coast, also known as the Italian Riviera, were full every weekend, hosting the major US and UK Djs of the time, but also seasoned resident DJs that had been honing their trade since the early 80s. By the early 90s, Italian House music was regularly exported around the world with labels such as UMM, MBG, Flying, Palmares, DFC, Oversky, Zippy, D:Vision, Irma - and its sublabels Antima and Calypso, releasing tracks inspired by the original New York House and Garage sound, but with a very different, unique and emotional take. This was the specific aesthetic that was to become the House sound of the Riviera, the soundtrack to the golden era of Italian House music.

With all releases between 1992 and 1994, House Of Riviera Vol. 2 unites a selection of 9 tracks that encapsulates the atmosphere, the energy and creativity that reigned during that era. Including 2 previously unreleased tracks from Ricky Montanari and Davide Ruberto, and Ivan Iacobucci, both in the vaults since 1992, the compilation spans the different shades of the genre : from classic deep vocal house by Ricky Montanari and Sound Set, to the more dubbier late night dance floor cuts by Workin’ Happily and Night Communication, with Mental Detector and More Heavy Soul bringing some well chosen disco samples to their contributions, without forgetting the characteristic deep Italian dream house style by Green Baize. Artists featured are iconic producers and DJs from the day : Ricky Montanari & Davide Ruberto, Alex Neri & Marco Baroni, Ivan Iacobucci, Workin’ Happily and More Heavy Soul.

Grim Beazley translates the mix of chaos and calm of the Australian bush into his new album Big World. It is a fascinating listen that combines "sounds and stories with deep evolutionary narratives" into soundscapes that are both dreamy and meditative. There is a strong emotional connection in these sounds as environmental themes bubble up next to fusions of house and trance that are both old school chill yet futuristic. 'Acheron Way' is the loose-limbed and breezy opener, 'Big World' has deeper Chicago drums, 'Eucal Regnans' has a more celestial electro vibe and 'Reefer Red Gum' is a post-rave comedown.

Happy Pills is the third studio album by Seattle based post-grunge band Candlebox. The album features former Pearl Jam drummer Dave Krusen and was originally released in 1998. Happy Pills would be their last album before their hiatus in 2000. It entered the Billboard album charts at No. 65.

The tremendous radio, concert, and television success gained them a main-stage slot at Woodstock ‘94 and put Candlebox at the forefront of the 90s post-grunge scene.

Happy Pills is now, for the first time ever, available on vinyl and comes in a limited edition of 3000 individually numbered copies on gold coloured vinyl.

Antipodean Anomalies 2 is Left Ear Records' most ambitious project to date, a compilation that took over 4 years to license and includes 17 artists across a double LP. AA2 picks up where the first iteration left off, with co-compilers Chris Bonato and& Bridget Small continuing to dig through the music of the geographically isolating and maverick landscapes of Australia and& New Zealand.

As with the first iteration, Left Ear continues its to excavation ofe the music from these vast micro-scenes that evolved out of a number of small community-focused domains, creating their own unique reinterpretation of musical influences from near and far, spanning the years 1980 – 1992.

The compilation scopes an overlooked epoch from Adelaide, presenting acts such as the DNA Lounge, TCH & Will Kuiper. A close-knit community of like-minded mates that made distinctive electronic music together throughout the 80’s, all of which remained unreleased until now. Holbrook Buchanan capture the ambiance of Perth’s heat prodded afternoon’s perfectly with their track Hunger, a breezy 9-minute minimal-jazz jam that includes kalimba, water samples & conga. Furthermore, artists like David Watson & Colin Offord use samplers and handmade instruments to offer a more abrasive and experimental aesthetic.

To round out the compilation, artists such as Jane Stevenson, discovered a 7” at an op-shop and found the needle stuck on the word, ‘Aloha’. Using tape loops, she chose to highlight imperfections rather than hide them and in unison managed to cross boundaries of time; the 60s (album voice) and the 80s (my voice), of location; Hawaii and Australia, and of language; “Aloha and Hi”. This ethos echoes the compilation's vision, to champion artists that implement impromptu creativity, and who have a desire to create regardless of their surroundings and resources. AA2 signs off with the Back to Back Zithers, drawing inspiration from the haiku poems of Basho. To illustrate this, Kari set a Kacapi improvisation to the backdrop of the cicada chorus of summertime in outer Melbourne.

chant#11 is the first VA compilation by David August's imprint featuring KMRU, Yu Su, Kareem Lotfy, Hadj Sameer, Sara Berts and more. Including also two new projects by August himself, Aşa (with jazz-noise vocalist Cansu Tanrikulu) and Madrā (with Carnatic vocalist Sushma Soma).

Observing how the world is continuously transforming, an idea of motion comes to mind. Inspired by Plato's concept of movement ("Nothing ever is, everything is becoming"), 99CHANTS has invited artists to create an "imaginary landscape." What does tomorrow sound like?

With creativity an increasing part of our daily lives, we must consider how we navigate the changes this contemporary environment brings. This means thinking through our responsibilities as a label, but also the role of music at this particular moment in time. We believe creativity and looking within our interior worlds can set hope and action in motion. We are curious to further explore music's ability to create gateways to such inspiration. With humility and gratitude, we hope this compilation can be a small contribution to a larger picture.

Since we started 99C in 2018, the safeguarding of the environment has been paramount to our existence. Considering the possibilities of tangible impact, we thoughtfully considered the act of compensation and decided that all proceeds will go directly to the non-profit organisation ONETREEPLANTED. Founded in 2014, OTP works with partners around the globe to plant trees in areas affected by deforestation. With 10 million trees planted as of 2020, biodiversity has been stimulated, jobs have been created, and while multinational conglomerates and energy companies produce the vast majority of global CO2 emissions, areas destroyed in the name of profit can once again flourish with life.

Welcome to the third part of the TELE MUSIC saga, the label founded by Roger Tokarz. He deeply marked the era with his audacity and his vision of music on film. This irresistible new selection tells the story from 1968 to 1985 of a prolific label that sometimes produced ten albums a year, and which delighted many French and foreign film directors who, to 'flavour' their films, drew on this sumptuous catalogue.
In this volume 3 TELE MUSIC, we have highlighted legendary artists who have left an indelible mark on the history of the music bookshop and on the history of music in general:

• Janko Nilovic (also known as Yanko Nilovic, Anady Loore, E. Orti or Alan Blackwell),
• Jean-Jacques Debout with his irresistible “Mitsuko” released in 1967 and re-released in 1969 on “Music Bazaar”, • Bernard Lubat, the impressive percussionist, vibraphonist, multi-instrumentalist and very good “scator” (Bernard played in the Doubles Six with Quincy Jones and Eddy Louiss),
• Gabriel Yared, the man with a hundred film scores. Arranger and composer for Johnny Hallyday and Charles Aznavour, among others!
• Hervé Roy conductor and writer for Nancy Holloway,
• George Chatelain, pianist, guitarist, clarinettist, founder of the famous studio “CBE” created in 1966 with his sister Janine Bisson and his high school friend Bernard Estardy.

All these composers were renowned for their acute sense of composition, arrangement, conducting and inter- pretation, and in their own way left their mark on many sound recordings of musical illustration "made in France!
CBE, the Chatelain, Bisson and Estardy studio is located in the 18th arrondissement of Paris. Still in operation and run by Julie Estardy, it has been receiving major artists for over half a century. It is a place of reference. At the time: Johnny Hallyday, Claude François, Sheila, Carlos, Françoise Hardy, Nino Ferrer recorded their hits there.
Now it's the turn of Sebastien Tellier, Bertrand Burgalat, Keziah Jones, Tony Allen, Jeff Miles to name but a few. CBE and its giant Bernard Estardy put TELE MUSIC in the best conditions to produce an atypical and powerful sound.
Bernard Estardy had a custom- built mixing console built by his German friend Gunther Loof, offering the perfect tool for recording 4 and then 32-track Arp 2000, Moog, Korg, Prophet synthesizers and all acoustic instruments. The field of experi- mentation was limitless.
Until now, the titles of this collection were only available in vinyl format, via rare and expensive prints that collectors sell for a high price on dedicated websites. This volume 3 gives you access to the "crème de la crème" of the legendary repertoire made in France!

„One day I was on a visit sitting in his kitchen and when we decided to change to the sofa in the music room, his girlfriend proposed to listen to these old recordings, as maybe I would be weird enough to like them. „Recorded in my homestudio, low budget style with a cheap microphone, a sampler, drum machines, vinyl and a few borrowed synths. … A commitment to the funk, a raw analogue sound and also a dedication to black music and its architects.“ the artist comments on it.
I immediately dug the rather short demos a lot. As I had to swallow the information that there never were real plans to release them, I later decided on the bus home, I just had to puke out a „label“. Soon I asked him to extend some of the songs and let me do some mixing and here is the album.“ Cid Hohner

An entire long-player on hair, representing the complete Illwig catalogue. Beautifully raw electronic funk. Obscure, bouncy and atmospheric. Right. This is F.B.Illwig with the first official release on Moonwalk X Records after a singlesided promo 12“ sporting the extended version of „Why Do My Hair“.