Search:chase

Created in 1954 and originally based in Newport, Rhode Island, the Newport Jazz Festival became one of the most celebrated and emblematic jazz festivals in the world. Immortalized in 1958 by Bert Stern's movie Jazz on a Summer's Day, it provided the setting for some of the most talked about events in jazz history, such as Miles Davis' 1955 performance of 'Round Midnight

A new album from the masters of exotica! Mix up a mighty rum typhoon and emerge yourself in this excitingly dazzling audio fantasy! Experience the fearsome Jungle Chase. Behold the secret world of the majestic Moonflower or lose yourself for a while inside the Hookah Parlor. What’s your pleasure? Ìxtahuele continues to develop their sound and song writing while exploring the heart, nuances, and boundaries of classic exotica. Venture into the unknown with the music for noble savages and urban primitives.

A new album from the masters of exotica! Mix up a mighty rum typhoon and emerge yourself in this excitingly dazzling audio fantasy! Experience the fearsome Jungle Chase. Behold the secret world of the majestic Moonflower or lose yourself for a while inside the Hookah Parlor. What’s your pleasure? Ìxtahuele continues to develop their sound and song writing while exploring the heart, nuances, and boundaries of classic exotica. Venture into the unknown with the music for noble savages and urban primitives.

The official soundtrack release to the new film of Amy Winehouse, BACK TO BLACK, releasing Spring 2024. Amy Winehouse is widely considered as one of the greatest artists in recent history, selling more than 30 million records worldwide. Her acclaimed self-produced 2006 album Back to Black, propelled her to global stardom, going on to win a (then) record breaking 5 Grammy Awards, including Record Of The Year and Song of The Year for hit single Rehab. Releasing on 140g 1LP Black vinyl, the tracklist comprises a carefully curated highlights collection of Amy's original recordings and tracks from her idols, such as The Shangri-Las, Billie Holiday and Dinah Washington, that are featured in the film, plus a new original track sung by Nick Cave. The vinyl product is housed in a single sleeve with printed inners featuring a personal note from director Sam Taylor-Johnson.

Mit "Dark Superstition" schlagen Gatecreeper ein neues Kapitel in ihrer Bandhistorie auf: Das kommende Studioalbum ist gleichzeitig die erste Veröffentlichung der Death-Metaller bei Nuclear Blast.

Dafür hat sich die US-Band unter anderem Unterstützung von Fred Etsby (Dismember) und Converge-Gitarrist Kurt Ballou geholt. Zum Hintergrund des Albums, auf das es mit "Caught In The Treads" bereits einen ersten Ausblick gegeben hatte, erklärt Frontmann Chase Mason: "Viele der Songs handeln von übernatürliche Ideen, gepaart meinen eigenen Erfahrungen. Allerdings ist der Titel selbst eine Referenz an die Superstition Mountains in unserem Heimatstaat Arizona. Es ist eine wunderschöne Bergkette, umgeben von Tragödien und Legenden über verborgenes Glück." An das Thema des Übernatürlichen schließen sie auch mit der neuesten Singleveröffentlichung "The Black Curtain" sowie dem dazugehörigen Musikvideo an.

Darin ist die Band von einer Friedhofskulisse umgeben, der sie mit ihrer Mischung aus straightem Rock, peitschenden Death Metal und ausufernden Shoutings Kontur und standesgemäße Düsternis verleihen. Dazu führt Mason weiter aus: "Es geht darum, zwischen Leben und Sterben gefangen zu sein. Eine Seele, die im Fegefeuer gefangen ist und darum bettelt, von einer übernatürlichen Kraft zurückgebracht zu werden."

With "In The Mood For Life", Wax Tailor's third album composed between Paris and New York, Wax Tailor creates an organic fresco with orchestral accents which reconciles more than ever the groove of hip-hop and the melodies of pop.

As a true craftsman of sound, Wax Tailor shapes his music at his own pace, favoring work and quality over productivism. In just 4 years his music has seduced thanks to its authenticity. We find there his sound signature, his taste for melancholic melodies mixed with the energy of Hip Hop. Here, soul, jazz, funk coexist, but also, more surprisingly, 60's pop, as evidenced by this attachment to short formats where the essentials are said in a few minutes. With the collaborations of Charlie Winston or Charlotte Savary to name a few, let's bet that this new opus will make you melt like a wax statue in full sun.

In a world of announcements of announcements, Gatecreeper are firing no warning shots before dropping their new release. “I think the social media environment has just fried our attention spans,” vocalist Chase Mason says. “Trying to hold someone’s attention for two or three months with a typical album roll-out doesn’t seem feasible with everything else currently going on in the world.” That’s not the only reason An Unexpected Reality comes with no pre-release hype whatsoever. “It’s meant to be listened to as a whole, so we didn’t wanna break it up or release a couple songs ahead of time as ‘singles’ or whatever,” Mason clarifies. “We also didn’t wanna treat it like it’s our next full-length. Because it’s not.” Written, recorded and now released during the Covid-19 pandemic, An Unexpected Reality is Gatecreeper like you’ve never heard them before. Exploring both ends of the tempo spectrum, the release offers two opposing sides of the band’s musical personality. Side one consists of seven short, sharp shocks that have a total running time of less than seven minutes. Inspired by grind, punk and hardcore, tracks like “Starved,” “Rusted Gold” and “Amputation” are some of the fastest offerings the Arizona death metal squad has ever recorded. Side two is the exact opposite.

Repress!

The SC704 premises are in a remote past. We need to go back to the days of the early '90s, when the first record by Schema was released.
In 1993 we handled Right Tempo records and published a 3 tracks EP which was highly acclaimed by the international acid jazz scene. Behind the project there was Nicola Conte, a leading figure in Bari's new jazz scene who acted as a catalyst in many productions.
Our followers should remember 'Introducing The Paolo Achenza Trio'.
As Paul Bradshaw from 'Straight No Chaser' magazine commented, the record was 'Rooted in the soulful funk of the sixties and early seventies jazz...'
Mysteriously, a fourth track hadn't been released at that time...
The new 7 inch series by Schema gives us the chance to listen to 'Chameleon' a cover version of Herbie Hancock's classic, featuring Gianluca Petrella on trombone.

Re-Stock

This release combines You Got The Best of Me', extremely rare on original 7' single, with I Can't Forget About You', never previously released on 7' vinyl. Both songs are Ronn Matlock's best on the 1979 album Love City' from Cotillion Records. The vocal style has been described as Teddy Pendergrass meets Barry White while the music is modern soul from a golden period of strings and horns championed by Earth Wind & Fire and equally legendary producer of these two sides, Michael Stokes. Both are dancefloor gems, I Can't Forget About You' first acknowledged by Expansion in 1994 on the compilation Soul Chasers Vol.2'.

"“A jazz artist to watch” (NPR) and “a virtuoso in the truest sense of the word” (JazzTimes), Morgan Guerin spent nearly a year crafting his multi-dimensional Tales Of The Facade, layering instruments and sounds track upon track. And while an impressive amount of the album is performed solely by Guerin, he also enlisted stellar collaborators, including Georgia Anne Muldrow, Melanie Charles, Cisco Swank, Zacchae’us Paul, J Hoard, and Kokayi. Despite Guerin’s widespread acclaim as a jazz artist, it would be reductive to call this a ""jazz album." "It touches a lot of different periods and styles of music," Guerin explains. "Wayne Shorter and John and Alice Coltrane are big influences, but so are people like Stevie Wonder, Marvin Gaye, Minnie Riperton, and Kendrick Lamar. I wanted all of those sounds to be represented. ” What’s left in the grooves obliterates concepts of genre even as it celebrates genres themselves. Now signed to Candid, Guerin’s music will finally reach an audience as vast and diverse as his musical vision."

Repress!

The publication of "Jet Sounds" in October 2000 and its subsequent release on the international market represented the turning point from the initial productions carried forward by Schema and the new course taken by the label reaching sales of 40,000 copies and still counting. It's the year 2000 and the avant-garde of the new jazz pop Italian scene is called "Jet Sounds". The debut album by Nicola Conte features nearly 20 musicians and moreover the visionary, sophisticated appeal of Nicola with a sound that has already become T . He tells a cinematic story as the images become a soundtrack for the music: Scene 1: A young woman is walking on the sea shore. She's alone, only white sand and crystal blue water by her side. It's late in the afternoon and the sun is glancing over her shoulders while a soft bossa nova fills the air. Scene 2: He's drivin' fast, there's little time left and a man to chase. Like busy spiders working a web, the beat of the big band pulses a 5/4 jazz theme. Scene 3: It's night; the park; shadows following, shadows hiding mystery? Undefined eastern/oriental sounds adrift on a pulsing psychedelic beat. What's the next move...?

Nourished By Time follows up his 2023 critically-acclaimed, breakout album Erotic Probiotic 2 with his debut EP on XL Recordings: Catching Chickens, set for physical release on May 3rd. Written between 2022 - 2023 in his home studio in Baltimore, and along his world travels this past year, Catching Chickens is derived from the film Rocky, and the iconic scene in which Rocky’s trainer makes him chase and catch a flock of chickens as a test of agility. With tracks like “Hell of a Ride,” in which Nourished By Time contemplates the fall of the American empire and late-stage capitalism loneliness, and “Hand on Me,” which traces the paranoia from distrust in a post-traumatic world, Nourished By Time chronicles his own test of agility as he weaves through the motions of his newfound notability.

Steph Richards has already made quite a name for herself in the worlds of avant garde music and creative jazz - She has recorded for Relative Pitch and Northern Spy, worked with Laurie Anderson, Anthony Braxton and Ravi Coltrane and studied with Wadada Leo Smith - As co-producer of the FONT Music Festival, Richards worked for years alongside fellow trumpeter Dave Douglas. Her records have been praised for displaying her evident virtuosity and inventiveness, the New York Times calling Richards "boldly inventive." NPR's Nate Chinen says Richards is "ingenious" and Downbeat insisted that she is "the latest figure of note" in jazz while All About Jazz cuts to the chase, saying simply, that Richards "kicks ass." It's an impressive history and litany of praise for a young trumpeter, but with her latest full-length for Northern Spy, Power Vibe, Richards pushes even further, marrying avant garde and cinematic moods with a kind of infectious and patently pleasing tunefulness that is certain to expand her dedicated audience even further. The addition of "sensory electronics" -- subtle but compelling textures and tactile rhythms which are physically triggered by drum-mounted sensors -- compels fascination here, interweaving a kind of aural hyper-lucidity throughout the record. Though boldly original, this music strides surefootedly alongside the work of contemporaries like Nicole Mitchell and Rob Mazurek and the late jaimie branch

In the dimly lit corners of a nondescript basement party, amidst the cacophony of laughter and clinking glasses, a pulsating beat cuts through the haze of alcohol-induced euphoria. It's a track that none have heard before, yet it feels instantly familiar, echoing the electrifying energy of Underworld's iconic 'Born Slippy'. The song, discovered by accident during a drunken deep-dive into the depths of an online music platform, becomes the unexpected anthem of the night. Titled "Macht over het Stuur", this track is an odyssey of sound, blending relentless techno rhythms with haunting, ethereal vocals that seem to drift in from another world. The opening notes are a siren call, drawing listeners into a whirlpool of synths and beats that mimic the heartbeat of the city at night. It's music that doesn't just want to be heard; it demands to be felt, pulsating through the veins and igniting a fire in the soul. As "Macht over het Stuur" unfolds, it weaves a narrative without words, telling tales of fleeting connections, electric glances, and the raw, unfiltered essence of human emotion. It captures the spirit of those who chase the dawn, those who find beauty in the blur of lights as they speed past on their way to nowhere. The track is a paradox, both a celebration of the present moment and a longing for something just out of reach, a sound that encapsulates the feeling of being utterly lost yet exactly where you're supposed to be. The discovery of "Macht over het Stuur" on that drunken night feels like unearthing a treasure, a secret shared among friends that would soon ripple out to captivate a wider audience. As word of the track spreads, it becomes more than just a song; it's a movement, a collective memory etched into the minds of those who experienced it firsthand. It stands as a testament to the power of music to unite, to transform an ordinary night into something magical, a reminder that sometimes, the most unforgettable moments are those we never see coming.

G Version III from Kyoto Japan arrives on Digital Sting via a correspondence going back a few years that grew out of mutual musical connections and a deep appreciation for the Jamaican soundsystem diaspora. G Version grew up with a love of Hip Hop, R&B, and Reggae and had a musical revelation at a Lake Biwako sound clash event as a teenager that was formative in spurring a deeper dive into Dancehall and soundsystem culture.

After some time spent studying in the UK and returning to Japan, working at Jet Set records along with meeting heavy weight producer Element the beginnings of her future musical output began to take shape. Downtime during the pandemic provided the time to concentrate on production. G Version's sound has a retro futuristic feel, equal parts Dancehall history and esoteric dub leanings, particularly in tune with the more experimental branches of 80's-90's UK Dub and Steppers. Influences being stated G Versions sound is thoroughly distinct and imaginative, not content to conform to any obvious genre tropes. Also included in this release are two dubs of G Version tracks by Digital Sting mainstays Feel Free Hi Fi.

G Version III- Scenery From Double Glazing DS008 Digital Sting Records

Career trajectories are rarely linear or make logical sense. Life is always unpredictable so all you can do is put in good work and keep at it. Joh Chase is a testament to this. Over the past two decades, the Seattle-raised, Los Angeles-based artist has persistently honed their songwriting and toured, opening for acts like Noah Gunderson and David Bazan. This dedication comes out entirely in their songs, which are so timeless, confident, and inviting they can only come from someone who’s devoted their whole life to their craft. Chase’s new album SOLO feels like a turning point for them: it’s the culmination of a lifetime of writing, losing, loving, and doing it all yourself. The LP adventurously toes the line between genres and sensibilities but it’s all filtered through Chase’s charming and fully-formed vision. SOLO is a testament to Chase’s do-it-yourself ethos throughout their entire career—they chipped away, self-funded tours, and crowdfunded this LP. But by finding their voice, they now no longer feel alone. “This is the most support I've ever had in my life,” says Chase. “I do not feel alone at all. There’s so much energy and generosity here around these songs.” Though it’s not their debut, SOLO feels like a reinvention for an artist: a daring reintroduction for a timeless talent. “I spent my life making music and trying to do it about 10 different ways,” says Chase. “Now this one feels like it. This album feels like a leveling-up of my music in general. When I look at it now, I realize this is the first record that's really me.” “Mesmerizing, infectious, joyful, and heartbreaking; this is the best new album I've heard in a decade. Joh Chase has arrived

The EP "Turbojazz & Friends" once again brings to light the sound and vision of Turbojazz, following the success of his debut album "Whateverism". This time collaborating with Rona Ray on the instant classic "Like You" with a remix by Sean McCabe, Broke One on the modern "Take 3" and closing the EP with the solo track "Star Chaser" which discovers the deep-tech side of Turbojazz.

ACxDC—full name Antichrist Demoncore—are anything but subtle. So to make sure that their message is heard loud and clear, they take things a step further, smashing these ambiguous, sophisticated, and abstract notions into a pulp and shoving them down throats. What’s left are sharp, caustic, and unabashedly vicious bits of truth and poisonous tongue-in-cheek propelled by bursts of powerviolence, metallized hardcore, and grindcore. Over the seventeen short songs, the music closely follows these themes.

The last 3 critically acclaimed PiL albums on cassette for the first time… This is PiL first released in 2012, and the first PiL album in 20 years, followed by 2015's What The World Needs Now.... Completed by last years End of World. The cassettes were the last project that legendary PiL manager John Rambo Stevens worked on before his sad passing in December 2023. Released on the band's own PiL Official Limited label

The 13th studio album from Old 97’s arose from what vocalist / guitarist Rhett Miller refers to as a ‘de-evolution’: “As much as I want us to calm down and grow up, the songs that felt right for this record were mostly big and loud and brutal and dirty.”

Produced by Tucker Martine and featuring appearances from Peter Buck (R.E.M.) and Scott McCaughey (The Minus 5), ‘American Primitive’ is gloriously rowdy, revealing a band more attuned than ever to the raw, reckless energy of timeless rock-and-roll

Proudly presenting a new series of Mr Bongo reissues exploring the incredible back catalogue of Sonny Lester’s iconic Groove Merchant record label. First up, the spellbinding funk-fuelled, soul jazz album ‘Simba’, by guitar maestro O'Donel Levy.

Baltimore-born, Levy was already well regarded as one of the best up-and-coming jazz guitarists at the time of Simba’s release. Having toured with George Benson and Jimmy McGriff, as well as featuring on McGriff’s Black Pearl album on Blue Note, he went on to sign with Sonny Lester’s Groove Merchant. Produced by Lester himself and recorded over two back-to-back days of sessions in 1973, Simba features a who's who of ‘70s session players. The album features the legendary studio drummer Steve Gadd, Cecil Bridgewater on Flugelhorn, bass by Tony Levin and arrangements by Manny Albam.

A masterclass in tight yet effortlessly funk-driven rhythms, the tracks showcase these musicians at their zenith. Album opener 'Bad, Bad, Simba' wouldn’t have been out of place on a Lalo Schifrin ‘70s car chase soundtrack. Levy's playing is brilliant, bright and slick, with an infectiously exuberant energy that is complimented perfectly by Gadd's supreme drumming. ‘Playhouse' serves up another vibrant offering, Wah Wah guitars, horns and flutes duelling it out in a fast-paced fashion.

The cinematic thread continues throughout, yet with the tempo taken down a notch. 'Sierra Lonely' and ‘Sad, Sad, Simba’ head into lush ballad territory, with superb arrangements by Albam and beautiful playing by Collins and Bridgewater on Flugelhorn. Here Levy shines without taking any limelight, as the players synergize to a relaxed perfection. ‘Nigerian Knights’ closes the album flawlessly, showcasing once more Levy’s understated yet magnetic flow on the guitar.

Every track on ‘Simba’ is a winner. As with CTI Recordings of the same era, the feel and textures of Sonny Lester's productions have that pre-emptive, hip-hop aesthetic, which later producers would rework and reimagine. This album is expertly balanced, deftly arranged and magically executed, ebbing and flowing with a cool buoyancy that just grooves and grooves.

Returning to the action and spectacle that have captured moviegoers around the world, Transformers: Rise of the Beasts take audiences on a ‘90s globetrotting adventure with the Autobots and introduce a whole new faction of Transformers – the Maximals – to join them as allies in the existing battle for earth. It's the seventh instalment in the Transformers live-action film series. Directed by Steven Caple Jr. and starring Anthony Ramos and Dominique Fishback, the film was released in June 2023. The soundtrack was in hands of Jongnic Bontemps, who gave the film a new sound. The score also features a reimagining of familiar musical compositions from the earlier movies by Steve Jablonsky. Bontemps felt his goal was influencing the score from the first five films directed by Michael Bay, but as the movie takes place after the events of Bumblebee (2018), which deviated from the timeline of the original films, he also needed to provide new fresh music. During the soundtrack's production, different musical styles were experimented with. However, Bontemps said they quickly realized that ""an organic, orchestral, emotional score, that sound we are all familiar with, and has such a deep history, goes a long way for we as the audience to connect with these robots."" Transformers: Rise of the Beasts (Expanded Edition) is available as a limited edition of 500 individually numbered copies on Autobots Red (LP1) vs Decepticons Purple (LP2) coloured vinyl. The vinyl edition features 5 bonus tracks and it includes a 4-page booklet with liner notes by the director, composer, and music executive of Paramount."

Transformers: Rise of the Beasts by Jongnic Bontemps, released 29 March 2024, includes the following tracks: "Autobots Enter", "More Than Meets the Eye", "Museum Heist", "Fallen Hero" and more.

This version of Transformers: Rise of the Beasts comes as a 2xLP. This release comes with (a) Booklet.

The vinyl is pressed as a red disc. Another vinyl is pressed as a purple disc.

Marilyn Monroe (born June 1, 1926, Los Angeles, California, U.S.—died August 5, 1962, Los Angeles). Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She had a good voice that matched her seductive visual appeal, and her limited catalog includes effective interpretations of the work of such songwriters as Harold Adamson and Hoagy Carmichael, Harold Arlen and Johnny Mercer; Irving Berlin, Sammy Cahn and Cole Porter. Marilyn Monroe's singing constitutes a significant part of her overall appeal as a performer. On this album “Diamonds Are A Girl's Best Friend”," I Wanna Be Loved By You", “Happy Birthday (For President Kennedy) ”, “The River of No Return ”, “Two Little Girls From Little Rock (ft. Jane Russell)”. a.o. Limited Edition on Blue Transparent coloured vinyl.

ORANGE VINYL

Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner's hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying-more memorable, more generative, more abundant-than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner! No matter where his genre exploration has taken him, there's something about growing up in punk and DIY spaces that puts collaboration in Boeckner's blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It's a jet-powered chase through a tech-noir cityscape-fueled by a dream and that special someone in the passenger seat. That urgency and passion have always been a trademark of Boeckner's, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he's not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he'd found the perfect counterpart for his solo debut. "I'd been a fan of his forever, especially the Sunn0))) records he produced," Boeckner says. "Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don't normally weave into what I'm releasing-like occult synth, pseudo-metal, krautrock, and heavy psych influences." That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it's charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain's ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record's atmosphere. That tense futurism was influenced by Boeckner's time staying in Dunn's Circular Ruin studio, a dusky, electronic aura burned into every track. By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



WHO MADE WHO – Dieses Album ist der offizielle Soundtrack zur Stephen-King-Verfilmung ‘Es begann ohne Warnung’ (OT ‘Maximum Overdrive)’. Es enthält neben Songs früherer AC/DC-LPs auch drei brandneue Tracks, darunter den Titelsong.

Pt. 4 of the 'Dub me crazy' series by Mad Professor.

Reggae meets twisted electronics for wild dub trips!

Originally released in 1985 on the same Ariwa imprint.
True D.I.Y. business from this UK dub pioneer.

‘THE CONGREGATION - Jazz Alliance International’ compilation is the latest offering from Mono Jazz label. Compiled by Massimiliano ‘Jazzcat’ Conti - a DJ, broadcaster and internationally respected
selector with over 150,000 followers on Mixcloud - and featuring liner notes by Paul Bradshaw (from the iconic ‘Straight no Chaser’ magazine), ‘THE CONGREGATION’ is an innovative, largely
contemporary selection of tracks that they feel is representative of the current era - a true manifesto of the international jazz scene of the present days.

The release was received with great enthusiasm by some of the leading DJs and music critics of the scene – from the UK, to Germany, to Japan – getting early radio support by Patrick Forge (NTS), Colin
Curtis (Hitmix Radio), Kevin Beadle (TWR), Rainer Trüby (Compost Records), Shuya Okino (Kyoto Jazz Massive), Raffaele Costantino (Rai Radio 2), Ilya Rasskazov (Headz.FM), Michael Rütten (Soul Searching), David Patterson (JFSR), Simon Harrison (Basic Soul) & more.

Built around a near mythical, unreleased song by Japanese producer Yellowtail featuring legendary beat generation jazz singer Mark Murphy, the selection of tunes contained in this album ventures far and wide. Soulful offerings by Anthony Joseph and Jimetta Rose & The Voices of Creation, percussive and spiritual renditions by the likes of Malcolm Strachan, Right Tempo’s own Francesco Sotgiu and Nicola Conte, Latin-flavoured explorations by Mexican giant Tino
Contreras and Acid Jazz’s signed Mama Terra and a hip-hop spiced cut by Portuguese producer Azar Azar are some of the many moods that can be found in ‘THE CONGREGATION’

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

lim. to 250 Copies ww!

"The world is rich, the world is colorful. So why not show it in all its complex diversity and contrasts? Why, when you go in one direction, do you have to follow it further and can't just go in all directions at once? These are all questions that Berlin-based Turkish singer Basak Yavuz may have asked herself when she began recording her new album "Raum 610."

Basak Yavuz doesn't take much time to get down to business. Right away in the opener "Promised Lands," different stylistic elements like jazz, rock, funk and hip-hop chase each other as if it were a matter of life and death. The message is unmistakable: this is about energy. The energy of the big city. Crowds on the sidewalk, congested streets, noise from construction sites, cyclists and drivers yelling at each other, barking dogs, screaming children, shattering glass, a new surprise around every corner. Basak Yavuz does not hide, but picks up the tempo of the Moloch and makes it her own pulse with all its fractures and border crossings. She is not afraid to overload her songs, but confidently juggles the explosiveness of creative oversaturation." (Wolf Kampmann)

"Atlanta Millionaires Club" von Faye Webster ist für die 21-jährige Songwriterin und Fotografin aus Atlanta bereits die dritte Albumveröffentlichung, aber die erste für Secretly Canadian. "Atlanta Millionaires Club" ist eine Sammlung von Songs, die dem Gefühl der Einsamkeit inmitten einer vorhandenen Gemeinschaft auf den Grund gehen. Die Musik basiert auf Alternative-Folk, bedient sich jedoch einer weiten Vielfalt von musikalischen Einflüssen und Genres, auch beeinflusst durch Websters Zeit in der Hip-Hop-Szene Atlantas in den Rap-Kollektiven von PSA und Awful Records. Die genreübergreifende Sammlung an Songs verbindet Websters federleichten Gesang, intimes Songwriting und ihren Scharfsinn, weil sie auffallend verletzlich und mutig aus ihrer eigenen Introvertiertheit und Herzschmerz schöpft. Den zehn Songs des "Atlanta Millionaires Club" unterliegt eine ganz eigene Traurigkeit, die von flüchtigen Beobachtungen und einem unerwarteten, schlitzohrigen Sinn für Humor unterbrochen wird: "Everything is way personal. I've never been that kind of person who can read a book and then write a song about the book," so Webster. "I have to write about very personal things for me to even want to write". "Atlanta Millionaires Club" wurde von Webster und Drew Vandenberg koproduziert und bei Chase Park Transduction in Athens, Georgia, aufgenommen. Der Titel geht auf Websters Vater zurück, der zusammen mit seinen Freunden während der Schulzeit regelmäßig an Aktionen für wohltätige Zwecke teilnahm und irgendwann dieser Gruppe den ironisch zu verstehenden Beinamen verpasste - als protzigen Kontrast zur harschen Realität.

For their first album, Seth Troxler and Phil Moffa joined forces and became multidimensional creative dissidents Lost Souls Of Saturn. This time, even further into the vortex, they’ve metamorphosed into sci-fi AR comic characters John and Frank who’ve explored the galaxy and returned with this perception-melting new LP.

Although ‘Reality’ still possesses the wigged-out conceptual brilliance which garnered installations and performances at Saatchi Gallery (London), Fondation Beyeler (Basel), The Metropolitan Museum of Art (NYC), and Museum of Contemporary Art Detroit, plus live sets at Field Day, Glastonbury and Kappa Futur, as its title might suggest, there’s vividness amidst the mind-bending. Where its predecessor was a murky exploration of weird and dark cerebral passageways, this album – though still fathoms deep – has a dazzling clarity of sound, as if listeners are beginning to crack the arcane codes, and reach for enlightenment.

A prime example of these newfound beams of light guiding participants through the maze is their recent single; the chugging cosmic techno synth pop of ‘Mirage’, featuring the voice of Adam Ohr. Also guesting on the album is Lvv Gvn, whose honeyed Billie-Holiday-meets-Rickie-Lee-Jones tones adorn the tranquil pixelated broken beat of ‘Click’, Greg Paulus’s trumpet sessions on ‘Zorg Arrival’ and ‘Scram City’, and Protomartyr’s vocalist Joe Casey and guitarist Greg Ahee, who grace the liminal drifting celestial plane of ‘Lilac Chasers’. Sitarist Rishab Sharma, the last disciple of guru Ravi Shankar, also shreds on ‘Scram City’.

Elsewhere, across the LP’s immensely inventive instrumental passages techno, dub, house, jazz, psych and ambient are vapourised into an expansive yet pleasingly concise series of morphing dream states. Fans of Air Liquide, Ravi Shankar, Ray Manzarek, Carl Craig, Pole, The Orb and ‘Son Of A Lung’ era FSOL should find much to like.

This is a drug record, but not in the way you might think. Chances are, if you’re reading this you’re burnt out. You’re tired, you’re stressed, you’re working. You’re surviving. So what do we do? We consume. Turning to screens, alcohol, substances and transactional relationships for a quick fix of dopamine, a little endorphin rush, a sharp boost of oxytocin. As we move along, our tolerance for all of these things rises, and our capacity to operate without them falls. We block up our neurotransmitters, and need more and more hits just to function and feel human. Put simply, it’s addiction. It’s ruining our brains, taking over our lives, but it’s all so… gratifying. Set in a not-too-distant and - crucially - not-at-all-unrealistic future, Normandie’s fourth album, ‘Dopamine’ finds the band asking and answering two unsettling questions: what if we pushed our brains and bodies far beyond their limits? And what if we already are? “The whole album is about the chase for different highs and natural chemicals: oxytocin, serotonin, dopamine, endorphins, adrenaline…” starts frontman Philip Strand. “What if dopamine had to be clinically provided because we've burned through our receptors?” “Making this album futuristic and dystopian came very naturally when we started discussing the current state of the world. We’re all on overdrive. We’re upping the stakes all the time, and everybody has a higher tolerance now for stress in a way that nobody saw coming,” he explains.

Soul Jazz Records’ long out of print classic ‘Studio One Dub’ collection is being re-released in three new one-off limited-edition coloured pressing 18th anniversary format editions!
Firstly a heavyweight special limited edition one-pressing only orange 2xLP vinyl + download.

Secondly, there is also a new special limited-edition one-off pressing edition orange-pressed CD enclosed in jewel case and slipcase.
And thirdly there is a very limited unique new one-off pressing orange-cased cassette format (200 copies only)!
18 years on from its original release Studio One Dub remains super-hard hitting featuring classic + rare Dub tracks from Studio One, many available on vinyl for the first time in over thirty years.

Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”, John Holt’s “Hooligan”, Freddie McGregor’s “Bobby Bobylon” plus many more rare tracks.

The album also comes with two rare interviews - one with Clement 'Sir Coxsone' Dodd about dub and dubplates and one with the sound engineer Sylvan Morris, talking about his groundbreaking period at Studio One and his many innovations that he evolved there.
In short, this is a 100% essential album!





"Almighty slab of dub featuring loads of rare and classic dub versions of Studio One's foundation tracks." Rough Trade

“Quite a treat awaiting here for the unsuspecting reggae faithful – as always with Soul jazz chock full of a bunch of big tunes – but here in version form lies some of the freshest rhythms and most radical revisions of some of the greatest Studio One music. The darkest and the absolute deepest in the series – naturally essential.” Boomkat

"Continuing the Studio 1 Series this album features classic and rare Dub tracks from Studio One, many available for the first time in over thirty years. Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”,
John Holt’s “Hooligan”, Freddie McGregor’s “Bobby
Bobylon” plus many more rare tracks. In short, this is an essential album!" Wax Museum

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.”

70's Movie Hits Collected is a compilation of Coloured Vinyl, High Quality, Insert 33 pop tracks released as 2-LP on 15 Dec 2023. 70's Movie Hits Collected includes a.o. the following tracks: “Giorgio Moroder - Chase (from "midnight Express")”, “Mick Jagger - Memo From Turner (from "performance")”, “Mike Oldfield - Tubular Bells (from "the Exorcist")”, “Isaac Hayes - Theme From "shaft" (from "shaft")” and more.

After a two year wait, we proudly present Deepseries 1.3, the latest installment in our Deep compilation series featuring friends and family of the label. This atmospheric EP showcases the distinct sounds of Deeptrax, bringing together a curated selection of tracks that define the label's sonic universe.

Caim kicks off the journey with an unreleased gem, a calm and atmospheric track with a punchy kick. It sets the stage for an immersive experience, inviting listeners into its ethereal embrace.

Returning to Deeptrax, Mathijs Smit delivers a bass-heavy, emotionally charged track. A sonic return to familiar grounds, his contribution reflects the label's commitment to captivating, bass-driven soundscapes.

Joey Anderson makes a poignant return with a deep, emotionally layered track where instruments guide, inform, and inspire. His unique ability to infuse depth and emotion shines through in this standout contribution.

Rich P & Lee join forces for another V.A. installment, presenting a melodic house journey filled with dub chords. A perfect blend of melody and rhythm, their track is a testament to their signature sound.

Closing the EP is Pim Holthof's debut on Deeptrax with an atmospheric minimal house track. His contribution adds a distinctive touch to Deepseries 1.3, showcasing the label's dedication to sonic exploration.

Deepseries 1.3 is a culmination of artistry, emotion, and sonic innovation. Join us in this exploration of electronic music, where each track is a unique thread in the rich tapestry of Deeptrax Records. Welcome to Deepseries 1.3 - where the journey never ends.

Saint Abdullah & Eomac is a long distance, ongoing collaboration between New York based Iranian-Canadian brothers Mohammad and Mehdi Mehrabani (Saint Abdullah) and Ian McDonnell a.k.a. Eomac, based in Wicklow in Ireland. They tested the waters with their first album on Nicolas Jaar's Other People label last year, but 'Chasing Stateless' is their fullest expression so far.

The creative mindset behind the album starts with bravery and eschews escapism. Says Saint Abdullah's Mohammad, "As a collective, we exist to test the revolutionary possibilities within sound and sonic storytelling. As a means to finding a vision of the future and for building cultural dialogue today. Our belief is that the expressiveness of this vision should be pushed to its utmost limits to reveal anew. I always felt that the intensity of the middle eastern soul needs to be revealed more potently. Ian and the Irish have it too. I suspect most historically oppressed cultures do."

The music on 'Chasing Stateless' avoids easy middle eastern tropes — "I think what we're proposing here is that you don't need to water down our culture, you don't need to take only the bits that fit your idea of who we are, what we are. You ought to take it in its entirety."

Musically, the album approaches established genres and re-orientates them towards middle eastern rhythm and melody with an iron soul. Songs are rough and intense. Rusty polyrhythms, daf drums wrapped in a thick coating of distortion or punchy kicks with micro-edited samples of middle eastern life spiralling across them. Mournful melodies are squeezed out until the music teeters on the edge of rhythmic collapse. 'Chasing Stateless' is rough and energetic but also tender and reflective too. It's a human sound, utilising technology but not about technology. Sample heavy with expressions of anger, sadness and hope present and deeply felt.

The album's title speaks to a loss of collective societal imagination; of 'chasing status'. As Moh says "This generation, man, we're really good at putting up walls, despite all our openness. But where does this all lead to? What exactly are we chasing? This is where I especially love the name 'Chasing Stateless,' because if all this continues, we indeed will end up stateless, society-less, community-less, neighbor-less. Just a bunch of same-sies, living in an imaginary bubble, where we all look / think / say / CHASE the same things."