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Renowned Jazz musician Ulf Kleiner lands on Ian Pooley’s Pooled Music this April with ‘Tubes’Grande’ featuring three remixes from the label boss.

A long term collaborator of Pooley, lending rich keyboard work to the legendary producer’s records over the years, Ulf Kleiner is better known outside of electronic music. Taken from his 2020 LP, ‘Pianoskop’, ’Tubes Grande’ is a light but immersive piece of acoustic modern Jazz that, at just 3.36 minutes, begs repeat listens. Pooley’s interpretations, a ‘Main Version’, ‘Dub’ and ‘Analog Piano Dub Mix’ lead Kleiner’s work to the dancefloor in distinct ways, showing off the producers deft touch and studio experience across the package. From the decidedly organic, mid-paced house of the ‘Analog Piano Dub’ to the dense, electronic melodies of the ‘Main Version’ to the blissed out ‘Ian Pooley Dub’ this Pooley in the form of his career.

It’s been just over one year since Michael The Lion x Amy Douglas and John Morales’ life-affirming remix 12" hit the airwaves. Released in March of 2020, the music offered a glimmer of light in the darkest of times, but of course, we had to postpone our celebratory dance.

As Summer approaches and our optimism renews, it feels as if just perhaps there is light at the end of the tunnel - just maybe we’ve found a way. In light of seeing & feeling that light, we’re honored to welcome Ron Basejam of Crazy P, Chicago’s own and B.B.E regular, Jamie 3:26, and the Toronto natives, The Patchouli Brothers to Soul Clap Records for ‘Remixed’ by Michael The Lion x Amy Douglas.

After the moderate success of the debut album "Live in Montreux", Agorà published their first and only studio work in 1976. The possibilities offered by the recording studio seemed more congenial to their proposal, which turns out to be a deeply matured LP, technically flawless and with songs that still belong to the best Italian jazz-rock, with a more intense jazz component at the expense of the progressive one.
Unfortunately, both “Agora 2” and the single “Cavalcata Solare” taken from this work were almost completely ignored, in a period in which the vast universe that revolves around the Italian progressive was slowly decaying.
The Atlantic label, also due to a very poor familiarity with the Italian bands and scene, didn’t renew Agorà’s contract and the group disbanded after a final appearance at the Parco Lambro Festival in 1976, with their various members that dispersing in many other jazz bands, in some cases up to the present day.
“Agorà 2” still sounds wonderfully today, and deserves a respectable place within a serious Italian progressive rock discography. The album is here reissued on LP for the first time ever, in a faithful reproduction of the original edition of ‘76.

Superb Album of pure Deep and electro dub in the High Tone Oldschool vein with that Stepper big PLUS for the raving times !

Buried amongst the gems on the second Claremont Editions compilation was ‘Oui Non’, a collaborative cut that marked the first label appearance of Jpye (real name Jean-Philippe Altier), a French multi-instrumentalist, DJ and producer best known for his work as part of Twonk alongside Leonidas and percussionist/vocalist/guitarist Renato Tonini.

Here Jpye and Tonini join forces once more for their first single on Claremont 56 – a sensual and seductive slab of slow-motion, sun-soaked synth-pop that features more than a few subtle nods to classic Italian Balearic disco cuts such as Radio Band’s ‘Radio Rap’ and Tullio de Piscopo’s ‘Stop Bajon (Primavera)’.
Built around squelchy synth bass and a shuffling drum machine rhythm, ‘Cosa Ti Va’ is marked out by glistening, jazz-fired guitar solos, vibrant synthesizer squiggles, rich electric piano chords and echoing, dubbed-out electronics. It’s a pin-sharp but effortlessly laidback number that’s as tactile and loved-up as it as lazy and horizontal.
‘Cosa Ti Va’ is presented in two complimentary versions. On the A-side of the vinyl version you’ll find the full vocal, which boasts Tonini rapping in his native tongue in the manner of Italo-disco’s most eccentric and atmospheric vocalists. With his deep, rich tone and fluid flow, it’s hard not to fall in love with Tonini’s previously unheard rapping. Rounding off the single is the pair’s vocal-free instrumental take, in which Jpye’s stunning guitar motifs and tactile, soft-touch production can be savoured in full.

Sinéad O’Connor marks a long-awaited return with a stunning version
of ‘Trouble Of The World’, a traditional song made famous by exalted gospel singer Mahalia Jackson, available as a 7” single backed with an a cappella version on Heavenly Recordings.

It follows somewhat belatedly the-ever-more pertinent ‘Trouble Soon Be Over’, her contribution to 2015’s ‘Tribute To Blind Willie Johnson’ compilation and once more exudes the heart and soul of this extraordinary performer.

Sympathetic to its origins, the heartfelt, evocative tones propel this impassioned rendition to the present its poignancy highlighted by a remarkable artist who leaves her own indelible mark on this topical realisation whilst realigning with a positive viewpoint.

In her own words, she explains; “for me the song isn’t about death or dying. More akin, a message of certainty that the human race is on a journey toward making this world paradise and that we will get there.”

The inspirational lyrical narrative that underpins ‘Trouble Of The World’ bears more relevance than ever today in the context of the death of George Floyd and the highlighting of the persistent racist undercurrents that trouble mixed societies across the globe.

The song sees Sinead joining forces with renowned producer David Holmes and, recorded in Belfast, Northern Ireland at the easing of the lockdown, it shares an uncanny albeit eerie symmetry with our new trouble of the world backdrop and once again Sinéad awakes our souls to the ironies and similarities of our collective past and present. The pair have created a sonic tonic and shout out to the powers that be as a voice of the people still questioning all-toofrequent events such as witnessed over the past few months that ensue decades since the nascent birth of the civil rights movement in the United States.

Embodying a voice with beauty and innocence, a spirit part punk, part mystic with a combined fearlessness and gentle authenticity - unique, uncompromising, a pioneer, a visionary, just some of the descriptions that perhaps merely touch the surface of Sinéad O’Connor.

Spoon Records kündigt, die erste Veröffentlichung in einer Reihe von lang erwarteten Live Alben an: Can Live in Stuttgart 1975 - erscheint auf Vinyl, CD und digital am 28. Mai 2021.

Selbst wenn man glaubt Can zu kennen, inklusive aller Alben und den legendären Lost Tapes, gibt es hier immer noch vieles entdecken das einen überrascht. Diese Musik ist nie zweimal derselbe Fluss.

Das neue Album in fünf Teilen, Can Live in Stuttgart 1975 dokumentiert einen wichtigen und beeindruckenden Teil der Can-Geschichte. Da in den 70gern technische Pannen immer wieder die geplannten Live-Aufnahmen sabotierten, fehlten diese im Spoon Katalog. Nun wurden die besten Bootleg-Aufnahmen genommen und unter der Leitung von Gründungsmitglied Irmin Schmidt und CAN Produzent/Toningenieur René Tinner durch die Mühlen der Technologie des 21. Jahrhunderts geschickt, um diese wichtigen historischen Dokumente in der bestmöglichen Qualität zu präsentieren. Gegründet 1967 und aufgelöst etwas über ein Jahrzehnt später, hat Can's beispiellose und kühne Verbindung von hypnotischen Grooves und avantgardistischen instrumentalen Texturen sie zu einer der wichtigsten und innovativsten Bands aller Zeiten gemacht. Die neue LIVE Serie offenbart eine völlig neue Perspektive auf die Band. Man kann vertraute Themen, Riffs und Motive hören, die auftauchen und durch die Jams surfen, aber es sind oft nur flüchtig wiedererkannte Gesichter in einer wirbelnden Menge. Man kann aber auch viel Musik entdecken, die es nie in den offiziellen Albumkanon geschafft hat. Die Aufnahmen gehen in extremere Bereiche als Can’s Studioarbeit: von sanftem, ambientem Drift-Rock bis hin zu den berühmt berüchtigten "Godzilla"-Momenten. Und selbst wenn sich die Band Mitglieder von Minute zu Minute anpassen und dem Rhythmus hinterherjagen, kann man die außergewöhnliche musikalische Telepathie hören, die sie alle teilten.

- "Can’s Live-Auftritte klingen wie eine epische Geschichte – ein Roman, der uns erzählt wird. Mit unterschiedlichen Kapiteln, wechselnden Stimmungen, Jahreszeiten und exotischen Landschaften." - Alan Warner

Headless Horseman is the second release on Phonopsia's new Horse Category label. The music was created entirely in 2006 during a period of intense focus and renewed energy. Headless Horseman gathers four of the five tracks from this period, which are only now being published for the first time. When the tracks were created in 2006, they set out the clearest idea of what Phonopsia's house and techno would sound like. Phonopsia has been making and playing music for a good number of years and was Sud Electronic resident from 2007-2009 and regular guest for Bleep43 from 2002-2010.

For our 7th release we are delighted to be reissuing a single that has brought us a lot of joy in recent times. We first came to hear Delores Fuller’s beautiful single One More Chance Lord in the same way we have heard a lot of new music over the last year and a half – through a friend’s lockdown recommendation. Ever since, the single has been a staple in our collection and permanently on our turntable.Perfectly transcending the genres of gospel, modern soul and disco. One More Chance Lord kicks it off with a piano riff that’ll be stuck in your head for days, building to a soaring chorus with lyrics that would fit any uplifting category. My Greatest Desire on the flip, is a ballad reflecting Delores’ vocal talents. Stripped back with only the piano for accompaniment. Delores singing about values of life - “not searching for riches, not hungry for fame”. Perhaps inadvertently explaining why this single has never had the prominence it so deserves.

The single was originally released in 1983 on Intro Records, a US based label predominately active throughout the 1980s. After a little diggin’ we reached out to Dwain Jones who duly licensed us the both sides and informed us that the single features a truly amazing arrange of musicians. Stanley Banks; bassist on classics albums such as George Benson’s Breezin’, Jonathan DuBose, guitarist with renowned gospel group The Clark Sisters and not to mention Pee Wee Ellis; James Browns band leader in the late 1960s who’s sax can be found peppered throughout Delores’ album God’s Love.Remastered and now available again on the teal green label of Miles Away. Limited 500 pressing and set for release on 21st May. Get one quick!

Geschmackvolles Doppelalbum mit herausragenden Sängerinnen. Wenn es allein um die Vokalkunst geht, dann ist die Jazz-Welt fest in weiblicher Hand. Man denke nur an Billie Holiday, Ella Fitzgerald oder Nina Simone. Aber auch Sängerinnen jüngerer Tage, zum Beispiel Sarah Vaughan oder Diana Krall, beeindrucken nicht minder mit ihren verzaubernden Stimmen. Grund genug für das französische Label Wagram, die renommiertesten Sängerinnen der letzten Jahrzehnte mit auf einem Doppelalbum zu vereinen.

Alle Mann an Bord! Die weltbekannte Pirate Metal Drinking Crew ALESTORM nimmt euch auf ihrem
neuen Live-Album Live in Tilburg mit auf einen wilden, nassen Ritt durch die sieben Weltmeere! Mit
den ersten Sekunden des energiegeladenen ”Keelhauled” wird klar, dass ALESTORM eine der kreativsten
und einzigartigsten Live-Bands sind - und nach Tilburgs unglaublichem Live-Publikum von 3000 Leuten zu
urteilen, lässt die unvergleichliche Energie der Band niemanden stillstehen. Erfreut euch an ALESTORM‘s
Live-Show - mit jedermanns riesiger Lieblings-Gummiente und massenhaft Alkohol - ganz bequem von der
Couch aus! Hervorragend produziert und abgemischt vom renommierten Lasse Lammert, der bereits an
ALESTORMs Studioalben Curse Of The Crystal Coconut, No Grave But The Sea, und vielen anderen
beteiligt war, bietet Live in Tilburg eine packende Mischung aus ALESTORMs beliebtesten Hits wie ”Mexico”, ”Alestorm”, ”Hangover”, ”The Sunk’n Norwegian” und natürlich ”Fucked with an Anchor”. Das
Live-Album wird als splatterfarbene Doppel-LP mitSlipmat und Patch, sowie auf mintfarbenem und goldfarbenem Vinyl erhältlich sein. Die Special Edition von Live in Tilburg kommt in einer Holzbox, zusammen
mit einer CD+DVD, einem Mediabook und einer 7-inch Vinyl mit zwei brandneuen ALESTORM AkustikCoversongs! Live in Tilburg ist die Definition dessen, worum es bei ALESTORM geht - eine endlose
Quelle des stampfenden, riff-geladenen und piratenhaften Singalong-Spaßes. Ein Muss für alle lumpigen
Landratten!

Bachelor, the new project from Melina Duterte (Jay Som) and Ellen Kempner (Palehound), is not a band, it’s a friend-ship. After being mutual fans for years, they finally met when sharing the bill at a show in Sacramento in 2017. Keeping in touch over text and Instagram posts, Duterte and Kempner started recording together for fun in 2018, resulting with what would become "Sand Angel", the seductive slow-burner that convinced the pair to write an album together.

Reconvening in January 2020, the duo packed the entirety of Duterte’s recording equipment into two cars and headed to a rental house in Topanga, CA. In this space Kempner and Duterte hybridized their individual song-writing talents, producing a collection that slips between moods with ease and showcases their lyrical prowess. Arriving with almost no songs written and no solid plan, they

finished the 10 songs that make up Doomin’ Sun after two short weeks. That much work in so little time may sound exhausting, but it wasn’t, it was blissful and freeing.

There was a lot of pain that went into the record, especially around themes of queerness and climate change inspired by the red skies and wildfires subsuming Australia at the time. However, when the duo did shed tears during the creative process, they weren’t tears of sadness, they were tears of laughter. When Kempner and Duterte look back on those weeks, what they remember first is shortness of breath and the inability to track vocal takes without falling to the floor howling. They couldn’t remember a time they’d ever been so delirious with creativity, so overwhelmed with joy.

The same crew as the boundary pulsing improvisation record Bent
Arcana has made a trajectory shift and picked up Ben Boye along
the path. The aptly-named Moon-Drenched is the second installment
from these sessions and keeps a heavy-lidded late night perspective
on things as it eases from the somewhat familiar liminal twilight
of skittering hues of black-blue and snaking street groove, to
fizzing off into the ether in pursuit of lunar prism beams heretofore
unseen. The more rhythmically dialed bits here have a lysergic halo of
strangeness to them, and the wispy bits between are spun of iridescent
gossamer. It sounds like a frizzled message from a future just filthy
with guitar hoots echoing off of neon-splattered high rises, oil-slicked
waterways and skittering digital beasts. For Castle Face’s money this
is the strangest slice of this last bunch of John Dwyer and his crew’s
improvisations.

Yo No Se return after a 5-year hiatus since their last album, Soma. Their
new album Terraform continues on from the dystopian world created in
Soma but this time taking the narrative to the stars. Terraform explores
the ideas of making a fresh start on another planet but the same
problems creep in…. Greed, corruption and hate. Exploring more of a
grunge feel along with some hard psych the band recorded with Dom
Mitchison (as well as Alex doing guitars and vocals at home), mixed with
Ali Chant and mastered again with grunge godfather, Jack Endino.
The band have toured across Europe in support of Soma in the last 5
years and gained a reputation for their loud and energetic shows. The
album has 3 drummers under its belt and countless breakdowns on the
road. With the pandemic kicking in just as the band started touring, they
had plenty of time to finally record (and find another drummer).
Terraform is a record 5 years in the making due to sheer bad luck.
Hopefully, their luck will change as the band are already working on their
follow up record.
The first single Black Door approaches the subject of corruption
amongst 'leaders'. The idea comes from Boris Johnson getting Brexit
'done' to forward his own career without thinking about the impact it will
have on peoples lives. We’ve had enough and we're ready to tear down
the establishment. The idea being that these problems we now face will
follow us wherever we go unless we stamp them out, here, on earth.
The artwork for the cover is by renowned sci-fi artist Bruce Pennington.

Under his own name, Rossano Baldini has enjoyed a career as a renowned composer for film and television; a jazz pianist and keyboardist who has recorded with the likes of Gianluca Petrella, Michele Rabbia and Pierpaolo Ranieri; and a performer with the revered, Oscar-winning composer Nicola Piovani as well as the most esteemed orchestras in his native Italy. His latest project represents a rebirth of sorts, necessitating a new name: HUMANBEING.Establishing a wholly new persona as an electronic composer/performer, HUMANBEING finds Baldini reconnecting with his own, long-dormant vision while striking out in stunning new directions. His self-titled debut album, is a unique hybrid of the organic and the technological, delving deep into the composer's essential humanity by way of evocative synthetic soundscapes. It's a timely reinvention, occurring at a moment when we've all been starkly reminded of our biological natures at the same time as we're more interconnected than ever in the virtual realm.

After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. In 2021, the concept of balance feels particularly intimidating. Now more than ever, it's clear life isn't just leveling out a pair of responsibilities. Instead, we're chasing after a flock of different ideals with a butterfly net. On Barlow's new solo album, Reason to Live, he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. In recent years, he's moved from Los Angeles back to Massachusetts, where he lives with his wife and three kids. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. Reason to Live is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. "I had been struggling for a way to connect both my home life and my recorded life, but this record is the first time I've integrated that," Barlow says. By folding the many facets of his life into one package, Reason to Live radiates with a renewed balance and calm. That comfort in complexity shines through even in the recording process, with select songs having origins in decades past and others written in the early stages of 2020. The multitude of whirring messages of Reason to Live are united by Barlow's roiling multilayered arrangements and the understanding that change is inevitable - and that it can bring you a new reason to live in the darkest times. "This album is me really opening up, and the album follows that through its many different themes," he says. "Some of my other work could be almost claustrophobic in its insistence on being all tied together but there's space for people to live inside these songs." After albums with Sebadoh, Dinosaur Jr., Folk Implosion, and under his own name, listeners may have felt they knew the construction of a Barlow song, even that they knew Barlow himself. "People have this vision of me as this heartbroken, depressed guy, but this record feels so true to who I am, to this rich life I now have full of people I love," he says. "The songs culminated over the last five years to show that music has returned to its central comforting role in my life. Now I'm home."

repress on BLUE vinyl

A reputed classical violinist and music teacher on the one hand, a curious jazz cat on the other. A business man and control freak, but an artist and free spirit as well.

Still, rather little is known about René Costy. Small wonder: the Belgian musician and composer was in many, if not all, respects a singular man. The lure of international show business was wasted on him and consequently, his name has remained a well-kept secret.

But cream always rises to the top. Some twenty years after his passing, his work - finally - goes global.
Moreover, this being a selection out of more than 400 tracks from a virtuoso, versatile and insatiable artist, it's hard to underestimate the importance of this compilation, which focuses on Costy's library music production from the 70's.

Der gebürtige Stuttgarter und international renommierte DJ und Produzent Danilo Plessow (Motor City Drum Ensemble) deckt auf seiner Fabric-Ausgabe mit seinem feinen Gespür für Soulfulness und perfekte Instrumentierung mehrere Jahrzehnte, Locations und Genres ab. Raritäten von den 70ern bis heute, die teils bis heute digital nicht erhältlich sind, schmücken das 28-Track-Mixset, von denen 11 Highlights als Full-Length-Tracks den Weg auf die Gatefold-2LP (samt Download-Code) fanden, darunter Plessows exklusiver Kollabo-Beitrag mit den beiden Jazz-Instrumentalisten Francesco Geminiani und Peter Schlamb, sowie Cabaret Voltaires "Taxi Mutant", das hier erstmals auf Vinyl erscheint.

Chronos is the new album by Rostock´s composer Johann Pätzold aka Secret of Elements - a heartfelt, richly visual journey through which the German composer channels personal struggles alongside the social upheavals to which he has dedicated himself as a 'music activist'.

Textextext - (add your write up)

Chronos charts an eventful period during which Pätzold learned to deal with mental illness, travelled to the Mediterranean to save lives during the refugee crisis, fell in love and lost love - ten years is a long time. The album tells of people, moments or phases from the musician's life. It opens with the ominous melodies and immersive choral ambience of 'Grace', which reflects on a friend's suicide attempt, before riding the euphoria of Pätzold's wedding and the birth of his children in 'A Last Waltz.'

Third track 'Memento' narrates the epic journey of a refugee Syrian mother whom Pätzold accompanied from Greece to Germany, its emotive swells and subtle crescendo evoking simultaneously the dawning of a new world and the melancholy of what has been left behind. 'Vinculum', built around an Indian mantra, also dates from the same period and was written as a last tribute to a small child who drowned in the Mediterranean. The piece combines church organ - renown as part of Christian music, and indeed recorded in the Marienkirche in Gnoien on an original 18th century Lütkemüller organ - with a mantra, seeking to unite various religious symbols in an attempt at reconciliation in the face of unimaginable tragedy.

Propelled by mechanical percussion, 'Rage' uses the Shepard scale, a musical phenomenon in which two cyclically rising octaves are played on top of each other in a staggered fashion to create the illusion of an infinitely swelling scale, perfectly mirroring the image of blind spiralling, hysterical anger. When we arrive at 'Aurora, we feel Pätzold musing about the end of the world, but also the end of the self. What remains when humanity is wiped out by a pandemic or something similar? In Johann Pätzold's case, what remains is, among other things, a monumental album, a musical chronicle of his life: Chronos.

Bosq & Pat Kalla have been traveling parallel paths from across the Atlantic ocean without ever intersecting for too long. They have both been deeply involved in the modern / retro Afro Disco scenes in their respective countries but it wasn’t until the legendary French producer & label head GUTS asked Bosq to remix Pat Kalla & Le Super Mojo “Canette” that they met musically. That remix was received so well by the public as well as the artists themselves that they decided to work on an original track together.

“Mouna Power”, sung in a mix of French, English & the Cameroonian dialect of Pat’s heritage places Pat’s smooth vocals over Bosq’s raw & heavily layered, percussion & horn driven Disco Funk. The Dance Dub strips back some of the vocals, pushes the percussion even further up in the mix, and stretches out the grooves, focusing more on the infectious B-section than the original. This makes for a perfect body moving excursion that will let the dancers delve deeper into the groove while being carried along by the horn blasts and Pat’s chanted vocals.

The record features the renowned horn section of the Bogota Orquesta Afrobeat, and djembe work from “Beto” Salas, a world class percussionist from Turbo on Colombias Caribbean coast. Bosq as usual handles all the rest of the percussion, instrumentation & production.