Search:christian qua

Three decades on, Nick Lowe has evolved from British pub-rock pioneer
(with Brinsley Schwarz) to new wave godfather (producing Elvis Costello,
among others) to postrock crooner.
It’s a surprising but convincing transformation, begun with the country-inflected minimalism of 1994’s superb The Impossible Bird and pared to an even
leaner chamber pop on this subdued charmer. Bird found Lowe damping his
jokester’s instincts to dig deeply and soberly into romantic despair and a gnawing, midlife confrontation of self.
While the tracks on Dig My Mood suggest that some of the wounds have
healed, there’s still an elegiac air to songs like “Faithless Lover,” “What Lack of
Love Has Done,” and “Failed Christian” that qualifies these as songs of experience. Lowe’s baritone has deepened and acquired a deft finesse with redeeming glimmers of wit and no loss of intelligence.
The 2021 reissue of Dig My Mood is remastered from the original tapes.

"In Vivo" is the result of the photographic work of Klavdij Sluban at the Fleury-Mérogis Young Offender Institution (France) from 1995 to 2016 Beds in addition to his work from Izalco prison, located in El Salvador, from 2008 [visiting rooms] connected to the music of Gareth Davis.

Gareth Davis is an artist, composer and musician living in Amsterdam. He plays clarinet(s), the result of a somewhat impulsive purchase whilst window shopping in Covent Garden, London, around ten years before the turn of the century. The serendipitous location of a rather wonderful (and equally important, rather cheap) second hand record shop less than 10m from the bus stop required for seven years of schooling, combined with delivering newspapers on a daily basis, lead to a somewhat eclectic, dusty and generally unclassified taste in music.

The result. Activity covering sonic art and contemporary classical music through rock, improvisation and noise with collaborations that have included the premiering of new written pieces by composers such as Bernhard Lang, Peter Ablinger, Toshio Hosokawa and Jonathan Harvey, soloist with orchestras including the SWR Symphonieorchester, Warsaw Philharmonic and Orquesta de la Comunidad de Madrid, performances with groups and performers ranging from the Neue Vocalsolisten and Arditti Quartet through to improvisers Elliott Sharp and Frances Marie Uitti, electronic artists Robin Rimbaud and Merzbow and multimedia work with artists including Christian Marclay and Peter Greenaway.

"In Vivo" is his second solo release after to have recorded a bunch of collaborative albums with artists such as Scanner, Machinefabriek, Steven R. Smith, Kleefstra Brothers, Frances-Marie Uitti, Merzbow, Adain Baker, Duane Pitre and more...

Klavdij Sluban, winner of the European Publishers Award for Photography 2009, of the Leica Prize (2004) and of the Niépce Prize (2000), main French prize in photography, is a French photographer of Slovenian origin born in Paris in 1963.

He develops a rigorous and coherent body of work, nourished by literature, never inspired by immediate and sensational current affairs, making him one of the most interesting photographers of his generation. The Balkans, the Black Sea, the Baltic Sea, the Caribbean, Central America, Russia, China and the Antarctic (first artistic mission in the Kerguelen islands) can be read as many successive steps of an in-depth study of a patient proximity to the encountered real.

His images have been shown in such leading institutions as the Metropolitan Museum of Photography of Tokyo, the Maison Européenne de la Photographie in Paris, the Rencontres d’Arles, the Museum of Photography in Helsinki, the Fine Arts Museum in Canton, the Musée Beaubourg, the Museum of Texas Tech University. His many books include East to East (published simultaneously by Actes Sud, Dewi Lewis, Petliti, Braus, Apeiron & Lunwerg with a text by Erri de Luca), Entre Parenthèses, (Photo Poche, Actes Sud), Transverses, (Maison Européenne de la Photographie) and Balkans -Transit, with a text by François Maspero (Seuil). Since 1995, Sluban has been photographing teenagers in jails. In each prison he organizes workshops with the young offenders to share his passion. First originated in France, in the prison of Fleury-Mérogis with support of Henri Cartier-Bresson during 7 years, as well as Marc Riboud and William Klein punctually. This commitment was pursued in the disciplinary camps of Eastern Europe –Serbia, Slovenia, Ukraine, Georgia, Moldavia, Latvia – and in the disciplinary centres of Moscow and St Petersburg as well as in Ireland. From 2007 to 2012, Sluban has been working in Central America with imprisoned youngsters belonging to maras (gangs) in Guatemala and Salvador. In 2015, he started photographing imprisoned teenagers in Brazil. In 2013, the musée Niépce showed a retrospective of K.Sluban’s work, After Darkness, 1995-2012. In 2015/16, he was awarded the Villa Kujoyama Residence in Kyoto, Japan. K.Sluban is member of national and international jurys, such as prix Niépce, prix de la Jeune Photographie de Niort, prix Leica, All About Photo…

Sharing his InBach album with the world in 2020 set events into motion that ultimately led to Arandel making second edition in the critically acclaimed, borderless project that unites rare instruments, musical reimanigation.

Arandel unites once again behind the musical phrases of the Leipzig composer specialists of ancient and modern instruments (Thomas Bloch), modern synthesizers and moogs, strings experts (Gaspar Claus), and the poetic spoken word of Myra Davies and Bridget St.John.

Textextext - (add your write up)

"There is a Bach for everyone" Arandel says, "and that discovery is what led me here, to InBach". Beneath the intricate history, the godlike adoration placed upon Bach, he was a playful musician, an eclectic one even. And so, a full year after the release of the first InBach record on InFiné, there is enough material to make a second one. "There is so much about Bach I didn't even know when making the first one - but after the release, people kept coming to me, telling me about certain pieces I should listen to or rework; songs that I had never even heard of."

The second InBach grew like a garden from the seeds of the first one - an eclectic journey through melodic fantasies, intricate sound design and a certain Pop silver lining. Some tracks were born out of Arandel's band performing on stage, experimenting with the songs live and composing them anew, like "Nos Contours", a new, French-lyrics version of Bodyline with Ornette, Arandel's stage partner.

InBach vol. 2 is a logical consequence then, of someone diving into a pool of music and history so large that it is being chronicled to this day. A substantial part of the instruments used on the lofty, eclectic album were recorded at the Musée de la Musique Paris: rare instruments like the *Erard square piano, ondioline, Zach's cello, Stroh violins*. They help shape the unique sound of Arandel's InBach project: sometimes _eerily familiar, always otherworldly and elusive.

In the vein of rare instruments, the first guest musician Arandel approached for InBach was Thomas Bloch, who lends his gift to four tracks over the two albums, playing the ondes Martenot, one of the first electronic musical instruments ever invented. Thomas has worked with many major artists in his career of ike of Radiohead, Gorillaz, Marianne Faithful, Tom Waits, Daft Punk.

The record travels *between styles, ideas and moods elegantly - it is a distinctly fun and personal album. Freeing himself from the weighty shackles of expectation surrounding the classical maestro, Arandel goes for the core of every Bach piece he tackles, making them his own. on "Octobre", based on Air On G-String, from Orchestral Suite No. 3 D-dur, BWV 1068, his nephew tells a dreamlike story of an ominous gang of children, literally blossoming in the mud. "Fabula" - featuring the French singer Scalde - based on the melancholic, Christian lament Meine Seele wartet auf den Herrn, becomes a grandiose, auto-tuned pop ballad on InBach vol. 2, featuring the virtuoso cello of fellow InFiné associate *Gaspar Claus*.

The use of spoken word is another new layer to InBach, and acts a lyrical thread carrying the listener through InBach vol.2: the closing track features Bridget St.John, John Peel-associated folk legend from the UK to offer to collaborate on a poem for this second volume, she replied to him with a line from André Gide : "You can't discover new land if you aren't willing to lose sight of every shore". A lovely way to sum up the InBach experience for both artist and listener.

By now you’re probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal, Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era’s classic output.
We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences — NWOBHM, thrash, glam metal, doom, etc — colliding at once as the era birthed a wellspring of subgenres.
Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We’ve collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.
LINER NOTES:
Rapid Tears launch this series with the perfect christening. The Toronto, ON quintet’s 1981 single “Headbang” is such the pinnacle of heavy metal madness that it almost sounds like a spoof. There’s also enough of the rapid-fire sputum that inspired Metallica to bang the head that doesn’t, as such, engage in said practice, to be found on the band’s sole full length Honestly. But “Headbang” is a straightforward glammy anthem for the ages.
Air Raid’s “69 In A 55” may be lyrically so sophomoric that it’s actually pretty clever, but this 1983 Bay Area power metal single is loaded with sleek Judas Priest riffs and interwoven melodies that are downright sublime. The band’s sole release, the 2-song Rock Force 7” features a curious band photo in which 3 band members — dolled up in Crüe makeup and leather — are sexually menacing the lead singer/guitarist tied to a bed. Another low budget highlight is when singer/guitarist Tommy “Thrasher” Merry imitates a delay effect on his vocals as he sings, “tonight!...tonight...night.”
Hades’ “Girls Will Be Girls” has a real demo cassette feel to its vastly uneven mix, but the energy to the performance makes this an undeniable keeper. The long running Paramus, NJ quintet’s 1982 2- song debut 7” titled Deliver Us From Evil features this blistering thrasher dominated by shimmering leads and confident vocals that show why the band went on to near-fame on Metal Blade Records.
Resless don’t need no T to prove that they’ve got “The Power” with this 1984 driving mid-tempo rocker in the vein of Mötley Crüe and Ratt. The River Vale, NJ quartet’s tight crunch wails all over Bon Jovi posers but it’s the band’s unique and subtle deployment of background vocals that gives this rager its staying power.
Pittsburgh, the Steel City, is home to Don Cappa, a band that pays tribute to the burgh, the metal, and the awesomeness of both with “Steel City Metal.” Their lone single, issued in 1987 with only 300 copies released, sounds like the work of some serious steel driving men, with a drummer who might’ve forgotten to wear a hard hat one too many times on the construction site.
The Beast has more of a punk feel to their aggressive “Enemy Ace” track from the 4-song Power Metal EP from 1983 — something like Dr. Know meets D.O.A. But their look, artwork and lyrics all prove that Heavy Metal is where their hearts lie. And this hook filled monster delivers repeated lines like, “I command them all in my lofty realm,” with commendable conviction.
Dead Silence from Denver, Colorado, debuting in 1984 is not to be confused with Dead Silence from Denver, Colorado, who also debuted in 1984. The former a workman’s hard rock bar band, the latter a political peace punk band and neither knowing of the other’s existence throughout their tenure. The pre-internet days were a marvel, indeed.This Dead Silence spits out a slick, Nugent tinged rocker called “Can’t Stop” about life on the road.
The Danger Zone is, by all accounts, not the place to be. And, Hazardous Waste of Boston, MA saw fit to add their two cents on the matter with this 1986 single that combines Van Halen’s flashy musicianship with NWOBHM aggression that sounds so awesome it teeters on itself entering the “Danger Zone.”
Czar’s heavy, doomy “Iron Curtain” single from 1982 hearkens to the sleazy sounds of Saint Vitus and Pentagram with its cranked up DOD Distortion pedal in a Peavey combo amp guitar tone and meaty, barking vocals. The upstate NY quintet only issued this 2-song single, but its driving rhythm, nosedive whammy-bar guitar solos and comparatively mature Cold War subject matter show they had real potential.
Not much is known about Real Steel’s majestic “Viking Queen” from 1987, other than it rocks hard and the 7” 45 sells for upwards of a grand on the collectors market. The Flint, Michigan band recorded at the home studio of local radio personality Bill Lamb, who primarily released Christian Gospel recordings. So, perhaps the band was struck down by a bolt of lightning shortly after this rare single’s release. Whatever the case may be, it’s a must have for fans of classic metal mayhem.

Working the sound of metropolitan life with a good glimpse of dystopia – rough, loud and with no mercy. With their new release Metropol, the techno duo 7Function stands up to its past releases fulfilling all expectations of a truly handmade piece of techno music.

Clearly, Snork Enterprises is the perfect home for this kind of sound, which has been produced in a heavy basement session with real hands and real hardware by the two artists Christian Quast and Christian Schachta. Adequately, “Metropol” is available with four tracks on vinyl. As the basement session has been quite productive, the digital release includes three additional tracks. Speaking of the titles of the tracks, as usual with 7Function they come with a certain dystopian message that perfectly fits the dirty underground sound.

Concentric Records presents Radiant, the third compilation of its introductory release trilogy. Featuring music by ASWA, HOLOVR, Max Loderbauer, Petre Inspirescu, Supply, The Waves, William Selman, the album evokes luminous, iridescent and ethereal sonic spaces - a journey that overcomes struggles, spinning upward towards the light.

The album opens with calm, bright and assertive tonalities, evoking mental spaces prone to exploration and wondering. Molecular textures and real-world sounds bring us closer to an intimate and physical sphere, a voice. Ultimately everything dissolves into a synthetic domain of acid-like washes, in a cinematic sense of departure.

MAX LODERBAUER has been an active engineer, producer, and musician across four decades. He first came to notice in the late ‘80s as a member of Fischerman’s Friend. Known then as Daimler Max, Loderbauer’s associates included Stephan Fischer and Tom Thiel, as well as producer Thomas Fehlmann. Once the group went dormant, Loderbauer and Thiel established Sun Electric; one of the leading sources of entrancing downtempo and ambient techno through the ‘90s. During the 2000s and 2010s, Loderbauer collaborated in numerous settings, including NSI with Tobias Freund, Chica & the Folder with Paula Schopf, and Moritz von Oswald Trio with Vladislav Delay and Moritz von Oswald. Loderbauer was partly responsible for some of the most progressive and experimental electronic music released during these years. In 2011, he and contemporary Ricardo Villalobos assembled Re: ECM, a project that involved radical transformations of ECM label recordings by the likes of Bennie Maupin, Christian Wallumrød, John Abercrombie, and Arvo Pärt. More recently he consolidated the collaboration with Ricardo Villalobos via the Vilod project, and with Samuel Rohrer and Claudio Puntin as Ambiq - both described as ‘a fertile patch of inspiration, shaking up the principles of minimal techno with the loose, expressive qualities of jazz’. The album opening track - ‘Harmonic’ - feels like a glowing dream. Composed of stunning electronics in a polychromatic, blinding and shimmering light; harmonious interwoven melodies calmly wind down invoking a serene mental state and grounding peace.

WILLIAM SELMAN was the very first artist ever approached by Concentric Records prior to the label’s birth, back in 2018, following his defining release ‘Musica Enterrada’. A musician and multimedia artist currently based in Portland, Oregon, his work employs analogue and digital synthesis techniques, live percussion and instrumentation, and his own rich field recordings to create compositions and sound art focused on the ideas of place and environment. Selman's recent works have been released on Mysteries of the Deep and Hausu Mountain.

PETRE INSPIRESCU is an extremely versatile composer. As co-founder of the legendary RPR Soundsystem together with Rhadoo and Raresh, he mostly produced club-ready, heavily textured takes on tech-house and minimal techno. In 2015 he released his first album on Mule Musiq, considered a significant departure from his previous work, scoring piano, strings and woodwind instruments for the first time, resulting in a set that sat somewhere between ambient and neo-classical. Since then, he continued to explore further sonic territories, adding in vintage synthesizers and occasional nods to dub techno, resulting in melodious sequences of musical movements that relate to the work of classical composers, American minimalists and ambient legends. ‘The Garden’ is a dreamy, intimate and nature inspired composition, recorded in his home studio in Ibiza sometime in the Summer.

DJ and producer SUPPLY (youngest so far on the label) was born and raised in Gießen, within sight of the skyscrapers of Frankfurt am Main, and has been living in Berlin since 2017. Musically socialised through hip hop, he found his connection to electronic music produced in Chicago and Detroit in the 90s by moving to FFM in 2013. For almost 6 years he has hosted his own events in his hometown. His productions connect the dots between hip hop, retro futuristic movie soundtracks and techno, he recently released on YAY Recordings. ‘Inhale / Exhale’ was created during a time of stress and mental tension, partly self-inflicted, partly result of my surroundings, as it turned out in retrospect. The track tries to capture a moment of taking a deep breath by releasing that tension for a moment. I came up with the first sketch one night around 4am, the final arrangement found its way onto a C60 Chromoxid Cassette - inhale - exhale.’ - Supply

THE WAVES is a post-punk and synthwave-inspired project led by Maayan Nidam, that places her vocals at its front and centre. As a musician obsessed with sound and the technology behind its creation, her workflow places a strong focus on the studio environment. Triggering chain reactions between guitar pedals, drum machines, modular synths and acoustic instruments, generating sounds in unpredictable ways. Drum machines keep a steady groove as to give support to an array of guitars and synthesisers, all topped with The Waves own, mostly unmasked, lyrics and voice. ‘Hold On’ was written by Maayan during the 2020 pandemic as she dived deeply in studio work in Berlin. Her lyrics are featured as part of the art print insert, and have became a central statement to the LP and its narrative - the power to hold on and break through.

Jimmy Billingham's HOLOVR project has racked up various releases on some of the most forward-thinking electronic music labels over the past few years, including Firecracker Recordings, Likemind, Further Records, Opal Tapes and his own Indole Records. Though best known for melodic, drifting acid techno and electronica, he's equally at home crafting textured ambient soundscapes. HOLOVR's deeply emotional synth passages and pads will take you on a journey into the outer. 'Melancholy of Time came out of a period exploring ways of producing and recording outside of the grid-based structures that I was previously working with. I wanted to strip it back to what I often find to be the emotional core of a piece of electronic music - ebbing and flowing synth pads - but to push and pull it a bit to create a slight disjointedness, unpredictability and shop-worn texture, as if it's coming apart and fraying, yet retaining a sonic clarity. I recorded it live using looped and layered synth phrases, underpinned by a layer of hiss and pin-prick textures. I find reflections on time and its passing to be a recurrent feature of my work, both in a more straightforward way of harking back to music of a certain period or pieces of equipment but also in a more abstract sense of creating a feeling where time doesn't matter - a deep feeling of now; that escape that you find in music and other ecstatic experiences. Though of course we’re always in - and running out of - time, and hence the melancholy.’ - Jimmy Billingham

Hailing from the German underground scene, ASWA aka Attila Fidan has an intricate, hypnotic style of electro, techno and ambient. Coming from visual arts and not primarily a trained musician, Attila produces under various and multiple monikers: ‘I never really start out knowing which moniker the track will be made under’. Since 2017 he runs a boutique Berlin label named ‘Tape Archive’. ‘Dust Palace’ is a synthetic piece that resonates with a cinematic vastness, closing the LP in an uplifting tone that evokes new departures and new beginnings.

What future? What futures? When fear substitutes truth / Misinformation obscures reality / And speculation prevails on experience / Brutality seems necessary / And empathy appears naïve.

One. Simple. Direct. Question. Quale Futuro? What Future? Obliterated by a tumultuous year with lingering anxiety, uncertainty and a city ready to break any strand of hope, Qlowski, resorted to what they know best, turning frustration into dreams, stockpiling possibilities, fabricating desire and simply, living. This is Quale Futuro? their debut LP for Maple Death Records



London based twee-punks Qlowski entered the studio in late January 2020, basically before everything. Crammed in a small studio room in Tottenham Hale with producer Lindsay A. Corstorphine (Sauna Youth, Cold Pumas, Middex) they created a striking, full blown manifesto, where their early post-punk nuances are heightened by an extremely poetic and compelling vision that encapsulates words, imagery and noise. Propulsive rhythms, a modern spin on kiwi-pop and a weird combination of dark punk, noise rock and flower pop are still the foundation of their sound but it’s the combination of bandleaders Mickey and Cecilia’s voices that creates an eerie effortless sense of familiarity. It’s no wonder they’ve known each other since they were young kids. ‘A Woman’ shines bright with Cecilia’s intimate and prismatic approach that unites Poly Styrene’s fierce delivery with the ethereal vocal melodramas produced by Joe Meek in the 60s. Mikey’s howl is confrontational and direct, moving from the motto-induced style of Italian new wave art-punks CCCP on ‘Lentil Soup’ to a deep commanding calm steadiness on ‘Lotta Continua’ and frenetic frenzy on ‘To Be True’. The stabilizing presence of Danny and Christian’s rhythm section has freed the band to develop and expand furious kraut-punk assaults like on deep cut ‘The Wanderer’. Les Miserable from London punks Italia 90 lends his snarl on the sci-fi 50s tinged romantic closer ‘In A Cab To Work’.

What future? What futures? When fear substitutes truth / Misinformation obscures reality / And speculation prevails on experience / Brutality seems necessary / And empathy appears naïve.

One. Simple. Direct. Question. Quale Futuro? What Future? Obliterated by a tumultuous year with lingering anxiety, uncertainty and a city ready to break any strand of hope, Qlowski, resorted to what they know best, turning frustration into dreams, stockpiling possibilities, fabricating desire and simply, living. This is Quale Futuro? their debut LP for Maple Death Records



London based twee-punks Qlowski entered the studio in late January 2020, basically before everything. Crammed in a small studio room in Tottenham Hale with producer Lindsay A. Corstorphine (Sauna Youth, Cold Pumas, Middex) they created a striking, full blown manifesto, where their early post-punk nuances are heightened by an extremely poetic and compelling vision that encapsulates words, imagery and noise. Propulsive rhythms, a modern spin on kiwi-pop and a weird combination of dark punk, noise rock and flower pop are still the foundation of their sound but it’s the combination of bandleaders Mickey and Cecilia’s voices that creates an eerie effortless sense of familiarity. It’s no wonder they’ve known each other since they were young kids. ‘A Woman’ shines bright with Cecilia’s intimate and prismatic approach that unites Poly Styrene’s fierce delivery with the ethereal vocal melodramas produced by Joe Meek in the 60s. Mikey’s howl is confrontational and direct, moving from the motto-induced style of Italian new wave art-punks CCCP on ‘Lentil Soup’ to a deep commanding calm steadiness on ‘Lotta Continua’ and frenetic frenzy on ‘To Be True’. The stabilizing presence of Danny and Christian’s rhythm section has freed the band to develop and expand furious kraut-punk assaults like on deep cut ‘The Wanderer’. Les Miserable from London punks Italia 90 lends his snarl on the sci-fi 50s tinged romantic closer ‘In A Cab To Work’.

Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk.
Belson, one of the world's leading collectors and DJs of gospel music, has assembled a collection of some of the rarest Gospel funk records for “Greg Belson’s Devine Funk.” In addition to the full-length, available on CD and LP, choice selections from the compilation will be released on 7 inch singles in limited quantities.
First up in the Devine Funk 7 inch series, a split 7 inch from the Christian Harmonizers on the A-Side and The Gospel Travelers on the flip.

Following the 2020 release of RoundAgain, Nonesuch reissues on vinyl Joshua Redman's first album with his own band — pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade — originally released in 1994. MoodSwing was Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz — a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy ‘Chill’ to the urgent energy of ‘Rejoice’, Redman offers up a communicative and inspired record ofemotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in ‘The Oneness of Two (In Three)’ and ‘Past in the Present’. The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums.

As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success, selling over 300,000 units worldwide. Entertainment Weekly wrote, ‘saxist Redman finds ingenious ways of creating a modeof acoustic jazz that is both entertaining and enlightening.’ This record continues to provide a cornerstone for Redman’s currentcareer; many of these compositions are still featured in the saxophonist’s live sets today.

Redman’s previously announced European summer 2020 tour dates with Mehldau, McBride and Blade have been rescheduled for 2021, including London’s Barbican, now on July 11.

Born in Paris, raised in Vienna, resident in Ibiza, saxophonist and composer Muriel Grossmann embodies the borderless, pan-continental energies of contemporary European jazz. Her music emerges from the lineage of European jazz that's absorbed the progressive music of Coltrane, Dolphy and Sanders. Today, she cites players such as Illinois Jacquet and Lester Young in the same breath as the masters of the avant-garde, and her playing marries the directness and eloquence of the older generation with the questing, spiritualised playing epitomised by Coltrane. The roster of musicians she has played with is long, and includes veteran European avant-gardists including Joachim and Rolf Kühn, Wolfgang Reisinger and Thomas Heidepriem, and she works tirelessly with contemporary groups and big bands across the continent.

Since her first recordings in the early 2000s, Grossmann has released a dozen albums as leader, featuring sounds ranging from hard-swinging modernist jams to free improvisation, expansive spiritual work to rhythm-focussed Afrocentrism. But at the centre of her work is a thread of pure and heartfelt spiritual music in the modal tradition defined by Coltrane and close collaborators like Pharoah Sanders and Alice Coltrane. You can't play this music successfully if you don't mean it – like the music of her contemporary Nat Birchall, Grossmann's engagement with the Coltrane tradition is sincere and deep. Her music resonates within the tradition – more than just a style, it adds a new chapter to the story of modal and spiritual jazz in Europe.

This Jazzman set draws a selection from her 2016 album Natural Time ('Your Pace', 'Peace For All') and from 2017's Momentum ('Elevation', 'Chant' and 'Rising'). Featuring her regular quartet of Radomir Milojkovic (guitar) Uros Stamenkovic (drums) and Gina Schwarz (bass), the music on Elevation is pure sound, soul and spirit!

- LP only with thick tip on sleeve- Download card included inside

"Timeless and innovative... a musical genius" Mike Gates, UK Vibe

"A listening experience akin to transcendence" Andrew Jones, Down Beat

"Vibrant, passionate, exhilarating. A monument of spiritual jazz" Mark Sarazzy, Impro Jazz

"A journey that takes off like missile, passes through meditation, reaches nirvana and ends with thanksgiving" Elliot Simon, NYC jazz records

"Timelessly beautiful" Christian Bakonyi, Concerto

After a three year absence, Kasper Bjørke returns to hfn music with a sublime new double EP entitled
“Nothing Gold Can Stay”. Having followed a deeply personal ambient music path that last year led to
the release of “Kasper Bjørke Quartet: The Fifty Eleven Project” on Kompakt Records, (named 5th
Best Contemporary Album 2018 in The Guardian), Kasper has found his way back to producing some
of his signature leftfield danceable beats, which “the past decade has seen Bjørke steadily rising amongst the ranks of artful, eclectic electronic producers…” (XLR8R).The Double EP “Nothing Gold Can Stay” explores both the analogue and organic side of his production work on Side A - while Side B reflects on sounds that he would play today, in one of his nightclub DJ sets. Side A contains four collaborations with four friends from LA, New York and Copenhagen. “Water” feat. Toby Ernest, the slow mo opener to the EP, revives the partnership with Toby that was last seen on 2014’s After Forever album (on the single “Rush”). Toby also provides the vocals on the cover version of Alessi Brothers’ 1975 classic “Seabird” - a track that came about through Kasper’s friendship and musical synergy with DJ and vinyl digger Christian d’Or, who is lead crooning while Toby delivers his signature falsetto. The “Seabird” cover adds a distinct contemporary feeling to the original version while staying true and respectful to the delivery and mood of the songs core. The 2nd half of the release, Side B, is directly aimed at the floor. Having stepped away from releasing club jams for a few years, Kasper is clearly enjoying getting back to the business of making people move. Side B of Nothing Gold Can Stay is both a testament to Kasper’s versatility as a producer and an all-out dancefloor assault, made with precision and sensitivity.

Worst records is proud to present the third release of its growing catalogue. Unlike his
alias could evoke, Christian Coiffure is not so much specialized in online hairdressing
tutorials but has a fierce passion into brushing serious quality tracks. « Un Nouvel Âge
Réminiscent » hits hard with its progression into sharp and colorful forms, never bound to
redundancy. From slow EBMish , industrial tainted marching anthems of « A New New
Hope » and « Slowly Merging Into One » to synth-infused acid railroads built for futuristic
Trance Europe Express trains in « Révolutions Synchrones » and « La Dernière Volonté
des Atlantes », everything functions as a toolkit for imagination. Add to this a breaky
andrefreshing post-dubstep turn on « Biosphere is Reborn » alongside a delicious
headshot surprise on digital bonus with « Pouvoir Lacrymal Renforcé », and you will
never see the word « coiffure » the same way again.

‘Just rain! Tell that to the dolphins!’
The brand new first-time vinyl edition of The Hitchhiker’s Guide to
the Galaxy: Quandary Phase comes on heavyweight blue vinyl,
packaged in the lavish style of the preceding Primary Phase,
Secondary Phase and Tertiary Phase LP releases.
Here, for the first time ever on vinyl, are Episodes 19 to 22 of the
BBC radio series. First broadcast in 2005, the Quandary Phase is
based upon the Douglas Adams’s fourth novel So Long, and
Thanks for all the Fish. This is the first ever publication of the
original radio edits of the Quandary Phase, as heard on their
original Radio 4 broadcast.
Hitching a lift back to Earth after it miraculously reappeared, Arthur
Dent returns to his cottage and tries to resume normal life. But an
encounter with a striking woman named Fenchurch leads to a
series of unanswered questions. Why has the planet’s entire
population of dolphins vanished, leaving behind them some very
charming crystal bowls? Who is Wonko the Sane, and what is
God’s Last Message to His Creation? Meanwhile Ford Prefect is
Having revelations of his own, and as for Marvin the Paranoid
Android…well, just don’t ask. Suffice to say, things may never be
the same again.
Starring William Franklyn as The Book, with Simon Jones as
Arthur Dent, Geoffrey McGivern as Ford Prefect, Bill Paterson as
Rob McKenna, Jane Horrocks as Fenchurch, Sandra Dickinson as
Tricia McMillan and Stephen Moore as Marvin the Paranoid
Android, with a guest cast including Arthur Smith, June Whitfield,
Stephen Fry, Jackie Mason, Rula Lenska, Patrick Moore and
Christian Slater, with music by Philip Pope and Paul ‘Wix’
Wickens. Adapted, Directed and Co-Produced by Dirk Maggs
Two 180g heavyweight coloured vinyl discs are presented in
illustrated wallets inside a rigid, bound 20 page book, including a
moving tribute to Douglas Adams written by Stephen Fry and
sleeve notes by Jem Roberts, Adams’s official biographer.
‘Whoooo…I’m flying…’

After the 002 from Christian Lisco we are super excited to present you two young talent, Dj Lettuce and Dj Unrefined.
They have already had the opportunity to show themselves to the public by releasing on labels like Quality Vibe Records, Chineurs De House, Howl.

On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

As The Title Suggests, Joakim Recorded This New Album Last Year At Studio Venezia, The Installation/sculptural Ensemble/recording Studio Created By Xavier Veilhan For The Prestigious 2017 Venice Art Biennale. Built Inside The French Pavilion & Inspired By The Grotto-like Merzbau By Kurt Schwitters, Studio Venezia Had Dozens Of Artists Create And Record There Over The 6 Months Of The Biennale (from Chassol To Brian Eno, From Joakim To Sebastien Tellier), Invited By Xavier Veilhan Himself With The Help Of Co-curator Christian Marclay.

With An Impressive Collection Of Rare Instruments From Medieval Horns To Rare Modular Synths (baschet Crystals And Percussions, A Buchla, A Clavinet...), Studio Venezia Was An Amazing Creative Playground For The Adventurous Musician. Those Instruments Were Captured By A Team Of Sound Engineers In The Best Possible Way Thanks To Nigel Godrich's (beck, Radiohead...) Mobile Studio Loaded With State Of The Art Vintage Recording Gear.

Before Going There In May 2017, Joakim Examined The Instrument List And The Specific Context Of A Studio Open To The Public Within An International Contemporary Art Exhibition To Anticipate His Creative Process. Instead Of Drafting Compositions And Demos Ahead Of The Recording Session, He Decided To Have An in-situ' Approach By Creating A System Involving The Visitors Of The Studio In The Composition Phase. Joakim Asked Random Visitors Of The Pavilion To Pick A Word, A Letter (between A And G), Tap A Tempo And Sometimes Choose The Instruments That He Would Play For Each Piece. The Word Was Translated Into A Chord Using A Transcription Table Joakim Invented. Hence The Song Titles Made Of The Given Word Plus The Name And Origin Of The Contributor. The Music Was Then Mostly Improvised, Based On Those Chords, Scales And Tempi. The Recordings Were Then Taken Back To New York Where Joakim Made Some Light Editing And Mixed The Pieces.

In Terms Of Influences, Joakim Tried To Channel The Spirit Of Proto-ambient German Heroes Cluster, 60s And 70s Modal Jazz, Japanese Evocative Minimalism And Drone Composers' Hypnotic Transcendence.

One Can Hear The Studio Through These Recordings, Which Was The Point, To Use The Studio As An Instrument, Like The Kraut Rock Pioneers Did. You May Hear The Floor Cracking, People Talking Or Coughing, And The Peculiar Quality Of Music Recorded In A Large Space With Its Acoustic Properties, A Rare Occurrence When Everyone Is Now Working From Small Home Studios And Major Large Studios Are Closing Down. This Album Also Marks A Return For Joakim To His Musical Education As A Classically Trained Pianist As You Can Hear Him Improvise On The Piano ( arms', air', dream'), Fender Rhodes ( trust') Or Harpsichord ( absense').

Following The Release Of The Studio Venezia Sessions, Joakim Will Create A Live Performance Based On His Experience In Venice. The Premiere Of This New Solo Performance Is Commissioned By The Villa Medicis In Rome For Their Villa Aperta Festival Early June. More Shows Will Follow.

"Invisible Cities", the first collaboration between AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS (OISEAUX-TEMPÊTE), offers finest ambient / chamber jazz / subtle drones of a highly meditative quality. Available as 180gr LP and download.

Be it solo, as member of the drone duo NADJA or B/B/S (his trio with ANDREA BELFI and ERIK SKODVIN / SVARTE GREINER) or in various collaborations with artists like TIM HECKER or THISQUIETARMY: the Berlin-based Canadian is one of the most productive and versatile artists when it's about postrock, drone or ambient and without doubt a true master on his instrument, the guitar. In recent years BAKER also starting exploring new grounds as a composer of contemporary / ensemble music - e.g. his composition "An Instance Of Rising" was commissioned by SPÓLDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE and SACRUM PROFANUM FESTIVAL for their 2017 edition. "Invisible Cities" marks BAKER's first collaboration with GARETH DAVIS whose eclectic oeuvrespans contemporary classical, free improvisation and orchestral music through to rock, noise and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formationOISEAUX-TEMPÊTE and A-SUN AMISSA, interpreted compositions by ALVIN LUCIER with MACHINEFABRIEK, worked with BERNHARD LANG and PETER ABLINGER, performed with musicians likeNY Downtown veteran Elliott Sharp, MERZBOW or ROBIN RIMBAUD (aka SCANNER) and realized multimedia work with artists including CHRISTIAN MARCLAY and PETER GREENAWAY.

Recorded in November 2016 at MUZIEKHUIS, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments / sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz / ambient moods.

Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.

The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.

"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.

Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.

Another great release on the 'Santiago-Amsterdam label' Cachai: LTD 005 on clear vinyl! German pride Christian Burkhardt and Daniel Roth: two artists who have been rocking the game for a long time. Pure groove - the way we love it at Cachai. This release hits two remixes: Chilean all-star Felipe Venegas and Amsterdam based quality producer Onno. A pack of four tracks that can't disappoint.

Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.

Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.