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The Anne, EP is the afterword to Joseph Shabason's acclaimed 2018 harmonic suite Anne, through which he examined and processed his mother's struggle with Parkinson's disease. Employing a small supporting cast that includes vocalist Dan Bejar (Destroyer) and guitarist Thomas Gill (Owen Pallett), Anne, EP spotlights the Toronto saxophonist as he builds empathic tropospheres of woodwinds and synthesizers, deepening the sentiment established by the EP's companion album. In doing so, Shabason further cements jazz, ambient sound design, and new age revivalism into a timely new genre all his own. Also Available From Joseph Shabason: The Fellowship LP/CD, Anne LP/CD, Aytche CD. “gorgeous and empathetic ambient music.” – Pitchfork // “I love it…very original...so exciting." – Bob Boilen, NPR Music // “…densely textured ambient jazz that is wonderful to immerse yourself in…” - The Guardian // “...seriously engaging…” – Aquarium Drunkard // “…magical transportive healing vibes.” – Gorilla vs. Bear // “…rich, healing ambient jazz.” – The A. V. Club // “…at once intimate and universal, honest and hopeful.” - Resident Advisor // Tracks: 01 West Of Heaven 5:12, 02 1517 5:57, 03 I Don't Want To Be Your Love 4:30, 04 Broken Hearted Kota 5:12, 05 Face Chord 7:13, 06 Gymnopédie No. 1 7:26.

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By its very nature, intuition is something of which we easily lose sight. Music however, as both bridge and secret technology, connects the natural, artificial, and the earned. It can act as both a reminder of cultures and people gone, while materialising and alchemising from thin air elements not to be found on any periodic tables, and visions no human can see.

»Pin down the dust« is the first meeting of Nighte - Christina Carter (Charalambides) and Mari Maurice (more eaze) - and it feels both automatic and natural. The collaboration stems from a spontaneous decision by the duo to start playing together weekly. “That's how this music was made,” explains Carter, “with gut feeling as the guiding principle. Mari understands the music I've made on such a deep level that playing with her feels so natural.”

The result of this meeting is inarguably some of the most beautiful music to ever emerge from either Carter or Maurice. The structures are spacious, generous, and gentle, with scraped violin strings and seemingly ancient moans strewn sparingly like falling leaves on a picnic blanket. Having begun life as freeform interplays between the duo recorded live at Maurice’s house, overdubs were later added and the material mixed by Maurice alone into finalised pieces.

Maurice’s varied instrumentation litters the background with distant and oneiric miscellanies, from groaned saxophone phrases and heavenly organ drones to glissandi guitars. Carter’s voice sits in the centre, embodying and channelling (mostly) wordless human ecstasy - and at times unease - amidst the allotment of blossoming sounds. Maurice & Carter’s clairvoyant connection notwithstanding, music always offers a portal back to our buried intuitions. “Pin Down The Dust” is both a tribute and a guide to this spontaneity and instinct, putting aside thought in favour of feeling.

Over the last two years, the Innate and We’re Going Deep labels – run by friends Owain K and Placid respectively – have become must-check imprints for those seeking brand-new, timeless-sounding electro, deep house, acid and techno. Now the pair are joining forces on a new collaborative venture that looks to the past for inspiration: InnDeep.

Focused on unearthing and showcasing slept-on gems from across the deep spectrum, the reissue-focused label will have an emphasis on UK producers and imprints whose work in the ‘90s and 2000s has arguably been criminally overlooked.

To kick things off, they’re taking a deep dive into the back catalogue of Headspace Recordings and Emoticon co-founder Tom Churchill, a Welsh producer whose trademark take on deep house achieved cult status in the late 1990s and early 2000s.

The Personal Interpretation EP was first released on Headspace way back in 1997, and dates back to a time when Tom was the very definition of a bedroom producer. He created the EP’s three tracks while still a teenager and mixed them down using the same pair of headphones he used for DJing.

Now painstakingly remastered, the EP sounds every bit as immersive and intergalactic as it did at the tail end of the last millennium. On the EP-opening title track, Churchill builds a sturdy, chunky groove out of clicking, hissing and metallic percussive elements and a wonderfully deep, tactile bassline, over which gorgeous chords, melodic motifs and eyes-closed vocal snippets stretch out as if reclining in the afternoon sun.

Churchill opts for a deeper, Detroit-influenced sound on ‘First Principles’, with undulating electronics and a raw analogue bassline working in unison with ghostly chords and deep space melodies, while ‘Crossed Wires’ is a tispy, off-kilter epic – all breathless drum machine rhythms, pots-and-pans percussion, woozy chords and weighty sub-bass. It provides a fittingly energetic, out-there end to a long-overlooked EP that remains as fresh now as it did back in 1997.

Mr Projectile, one of our favorite IDM producers from back in the day, has given La Luna the chance to share some of his unreleased IDM tracks from the early 2000’s. The album is an eclectic blend of ambient, IDM and experimental electronics.

These sounds are a time machine to simpler, less chaotic times and have become essential listening these days. We envision this album spinning on a sunny Sunday afternoon, filling your room with the delicate and deep textures of electronic music and soothing your uncertainty. Enjoy a nice cup of coffee and explore your thoughts as you speed through time and space. Hopefully serving as a special reminder that we are all in this madness together.

Not only is the music stellar, but we are honoured to have Marcello Raeli, an Italian artist and car designer, accompany the music with his wonderfully mind bending artwork. Marcello is an artist who has designed some of the most insanely beautiful/fast cars on the planet. Here we get to take a deep look into his mind and marvel at the incredible interconnectedness created in this piece and appreciate the sense of depth and space created for this album.

Extremely rude, extremely powerful, extremely Detroit. You will never miss this one if you are on the dance floor. The boss of Visillusion records was one of the first music producers and DJ’s who dipped his toes into the deep black pond of techno. Actually, that was so long ago that nobody knew the name of this genre at the time. From 1987 he has appeared under different monikers around the globe for many occasions and he is definitely cannot be stopped.

Fresh three-tracker from Thomas Barnett is a gold horse. Moscow-based Exarde has got you covered if you are one of those DJ’s who like lifting heavy weights. Just pop the A-side on the deck without even looking and let this warehouse bounce. But don’t forget to flip it in a few minutes because the B-side has a more experimental feel if we might say and just can’t be missed by any electronic music aficionado.

Upcoming album 'Fruit Of The Void' to be released later this fall.
Kosmo Sound is a perfect balance of tight rhythms and extended melodies, and they constantly strive to push boundaries with their sound. Having worked together with dub legends Daniel Boyle and Alpha & Omega and having played as the support act for Adrian Sherwood, The Twinkle Brothers and Omar Perry, heavily inspired, they took refuge in the studio to record this album full of meditative sounds and dense grooves.

“It's a slow motion dub explosion.” - Woodburner

“As a mixture of Slimmah Sound, El Michels Afffair and Khruangbin in which deep dub basses flirt with thin desert blues guitars, jazzy drum patterns and tufts of saxophone.” - Indiestyle

“The canvas that these six musicians span as Kosmo Sound has a musical breadth that effortlessly ranges from dub over jazz to psych.” - daMusic

"an amalgation of styles that tickle the senses" - ReggaeVibes

“This remarkable debut makes one curious about future releases” – Irie Ites

Club of Jacks presents their 6th vinyl-only release - Hoovers EP.
This heavyweight 4 tracker fuses that trademark Club of Jacks House & Garage sound with an injection of raw Rave energy, delivering an EP that's as upfront as it is nostalgic.

Kicking things off on the A side is 'The Hoovers Track', an homage to a certain UK Garage classic (we'll let you work it out) but with a twist - combining a slamming 909 beat with a dirty Alpha Juno hoover line and a roucous breakbeat on the breakdown. A2 track 'Fall On Me' is a bumping Deep House groove flecked with evocative old-school vox and samples that raise the temperature.

On the flip side, things get a little moodier with the 2-Stepper 'Rub-A-Dub' mixing heavy sub bass with organ grooves, pianos, chopped breaks, dancehall shouts and a sweet female vocal chant. Finishing off the EP is 'Watch It' which samples a voicemail from a conversation the COJ boys had with none other than El-B and cuts it up over a rolling 4/4 bass groove. Limited edition clear vinyl hand-stamped pressing.

Written/Produced/Mixed by Club of Jacks.A Mastered by Henry@Pitchcraft.

The Sol Power All-Stars are back once more on the Rocksteady Disco label with some superb new covers of much-loved British funk band Cymande. Each one brings a fresh perspective while paying heed of the Afro-roots of the originals. 'Anthracite' (feat Denise Henderson) opens up and is designed for moaner dance floors with cosmic synth work and big, bouncing drums. There is a deeper and more steamy sense of rhythm to the tropical sounds of 'Getting It Back' while the Parkway dub of 'Anthracite' sounds like early house music. Two versions of 'Genevieve' offer shuffling rhythms and big horn stabs and stomping, ass-wiggling Afro-jazz.

Following the digital release of Cor.ece’s debut EP, RNT drops the Dance To Keep From Crying 12” with fresh extended versions and unheard remix treatments.

The title track blends deep proto-house influence with Cor.ece’s soulful vocal twists, evoking late-80s Para-dise Garage and an extended dubby synth exploration.

The Danny Kane-produced What’s The Word gives deep late nite Larry Heard vibes, and on the flip Crackazat takes Possibly Impossible into a world of blissful jazzy house.

JKriv extends the original version of Possibly Impossible into a DJ-friendly electro soul romp.

Joining techno mainstays Spencer Parker, Leo Pol and label boss Mella Dee among others, BLACK GIRL / WHITE GIRL are the latest artists to come to Warehouse Music serving up an EP of mind-expanding techno rollers.

The Holland-based duo have made a name for themselves producing weighty, no-nonsense techno cuts to reputable labels Super Rhythm Trax, Balkan Vinyl, and more recently, their independent Bandcamp series Dancefloor Destroyers which remade old school classics in the image of jack: acidifying everything from Robyn to Donna Summer, these tools show off the pair’s ability to make a club (re)werk.

Now with their ‘Multiverse EP’, BLACK GIRL / WHITE GIRL take their sound to another plane where kick drums slide over spectral voices, bleeps smudge into cosmic fractals, and minimal hi-hats make way for a slinkier, deeper energy than on previous releases—all without spilling a drop of their signature raw power.

Available for the first time on vinyl, the debut album by Deborah Jordan is a classic set of neo-soul and broken beat gems featuring amazing production work from Atjazz, Marc Rapson, Simbad, Jniero Jarel, Rise/Mecca:83 and more.

Originally released on CD in 2009 to critical acclaim, the album was supported by many taste makers and DJs worldwide and is considered a classic UK soul album.

Still sounding incredibly fresh, The Light has a deep and mature sound with brilliantly arranged tracks moving through various soulful genres from nu-soul, broken beat, deep house and hip-hop with Deborah’s own unique vocal delivery and song writing skills on full display. Over the years, Deborah has worked with many fine producers including 4hero, Bugz In The Attic, Soundspecies, Domu, Ty Macklin and continues to produce incredible work with her contemporaries including the recent collaboration album Human with the excellent K15.

Goose bumps mental acid music... The A side is totaly crazy... lots of breaks and reprises to kill the progressive spirit of it and enter a new dimension where the story brings lots of sonic surprises... Through it remains mental and deep, avoiding the acidcore shouting trap. Newskool rocks !

The Mixtapers land on the newborn Angis Music - founded by Bakerboy - with a warm-sounding and futuristic EP which stems from jam session recordings in which acoustic instruments interact with electronic ones. The path begins with the title track Sun Metaphors, driven by an enveloping bassline which leads us to exotic and surreal landscapes, dominated by a vibrating groove. The glorious vocals of the singer ALO sound like a tribute to the Sun and more generally to warm, bright energies, like a Gospel choir. The same spirituality resonates in Trinity, a cosmic funk trip with flute and keytar interludes. Side A serves also Smokey Reflection which is pure sensuality in its most deep form while Stay (Away From Me) is the epilogue of a fervent journey, where the sounds of drum machine and congas recall the atmosphere of bossa nova, also because of the presence of Sara Lima's voice.

BEC returns to Second State with another earth-shattering release containing four raw & atmospheric cuts.

The Berlin by way of Brighton producer BEC has been a member of the Second State family since her first release with the label in 2016. Since then, BEC has dropped 4 EP’s with the Berlin imprint, and regularly appears at the likes of Awakenings, Amnesia, Warehouse Project, Fabrik, Watergate & Burning Man to name a few.

Title track ‘Solitude’ opens with a sharp, rounded kick and crafty drumwork. Metallic swipes and rave stabs are injected to build tension, along with a choppy vocal and bubbling element. Punchy arrangements and rave stabs bring this track to rave territory at moments, before hauling back into the deepness of the cut. Next up is ‘Process Don’t Resist’, easing us in with a crackling bass and a solitary hi-hat, soon joined by buoyant claps and a muffled kick that submerges listeners into a different dimension. Darker, swiping elements are introduced with metallic textures, with the claps becoming more erratic as the track unfolds. An indiscernible vocal gives way to a jarring breakdown halfway through, sending shockwaves through the listener before submerging back into the hysteria.

‘Coming’ follows and initially appears as a break from the heaviness of the previous productions, before transforming into a high-octane stomper. A booming kick, bleeps and spiking vocal build the intensity as the track drives forward and hoover noise wavers menacingly. The vocal and kick bounce in unison towards the close, with a final cry towards the end. The finale is dark, mysterious and entrancing with ‘Fear Parade’. An authoritative female voice utters ‘not afraid’ under a myriad of shakers, howls and vicious synth swipes. The sample gradually takes over with the track building to crescendo, allowing shakers to come to the forefront along with eerie howls and a new, more robotic vocal that utters the initial phrase repeatedly until close in an effort to encourage listeners.

The illusive Impérieux ventures into the fantastical world of DJ Koze’s Pampa with three tracks of masterful, genre-bending electronica.

It’s little wonder that the Turkish/Bulgarian native finds himself coming into the orbit of the Hamburg-based label head. DJ Koze has been a long-time supporter of Impérieux’s music, his intrepid DJ sets often finding their most dramatic peaks or existential lows with one of the producer's audacious dancefloor soundscapes.

Now Berlin-based, Impérieux’s music draws deeply on the sounds of his heritage, taking inspirations from Bulgarian folklore, twisted and chopped Turkish dialect as well the gritty underground of his new surroundings.

With Fantasmagorii, Impérieux explores his sonic boundaries with techniques inspired by the label-head himself. As a producer he is becoming known for his ability to build fantasy worlds through aural experimentation, creating productions soaked with fragility and emotion. His music brings a full-body listening experience of it’s own, laden with intensity and mystery, and full of opposites. He has the ability to pluck their listeners out of reality, to bend the rules of time and space and defy genres in a way that is reminiscent of Koze’s various bodies of work, and it’s no surprise that this selection of tracks feels right at home in the Pampa fantasy.

"I am permanently seeking for Music that blows my mind. It’s like digging for gold. Impérieux delivers a psychedelic bullion" (DJ Koze)

Clear Vinyl

"Monstas brings out our street and theatrical sides to a fiasco, combining Grime/Dub MC's and tunes to make a Soundtrack-like experience. The release also marks an end of a Trilogy - which allows us to wrap up our sonic architect skills, and to start from scratch, to dive deep in the unknown - audio and visually."
- TRAKA

Thomas Newman became the ninth composer in the James Bond series history. His score for Skyfall won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me. Skyfall does not contain the title song performed by Adele.

Skyfall (2012) is the twenty-third spy film in the James Bond film series. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film's villain. The movie was directed by Sam Mendes. The story centres on Bond investigating an attack on MI6. The attack is part of a plot by former MI6 agent Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films.

The limited edition of Skyfall of 1.500 individually numbered copies is pressed on coloured (transparent & black mixed) vinyl. The package includes a big poster, a 4-page insert and 2 printed innersleeves. Both innersleeves have one hole in the middle to show James Bond on the labels. Don't forget to check the secret service inscriptions on the run out grooves.

Federico Madeddu Giuntoli is an italian multidisciplinary artist. Mostly autodidact, his art is based on groundedness and simplicity, and focused on the complexity of human journey in a non aggressive, warm and unfiltered way.

His works, ranging from contemporary art, music, writing and photography, are usually delicate and subtle, yet unequivocally tuned into a certain kind of pop communication, however essential and experimental it may be.

"The text and the form" is his first solo album, featuring german e-poetess AGF and japanese artist Moskitoo (12K).

The album is a collection of 11 minimal and intimate short songs, in which piano fragments, lonely guitar solos, spoken words and evocative vocals resonate with processed microsounds and lo-fi field recordings, creating a concise and very deep journey into romance and sense of mystery.

In the artist's words, "the album shaped itself according to a loose process of refinement and layering. A long, undisturbed assembling across more then a decade, often against my own will to reach a definitive form. If any relevance in this work can be found, I would say it resides in its capability to deliver a rare sense of vulnerability, longing and aliveness together, an aroma of improvisation and instability mixed with a unexplicable impression of perfection".

Y Bülbül is back on the controls accompanied by Yumurta, a percussionist from Istanbul. Pingipung introduced the London based artist in 2020 with his psychedelic, synth-laden debut “Fever”.

“Not One, Not Two” is based on a one-way transmission of improvised drum recordings from an industrial estate in Maslak, Istanbul to another one in Tottenham, London, where Y Bülbül laid down fragmented layers of bass, synths, guitars and field recordings over Yumurta’s singular drum takes. The result is a free-form deep listening album for fans of dub, ambient and kosmische music, where the groove and harmonies are mystically interwoven, yet somehow manage to stay on the brink of collapse. Although the sessions were non concurrent and scattered over two continents, the collaboration evokes scenes of a telepathic communion where individual perspectives, circumstances and stories are exchanged between the two.

Resembling Moondog, Holy Tongue or Luis Paniagua in the sense that they favor the raw over the polished, holistic presence over conceptual perfection and questions over answers, the duo’s focus on bare sounds and repetition guides the listener throughout the album. The ride cymbal opening the minimalistic “I’m This”, for instance, briskly disarms the listener who might have been looking for more traditional songwriting or production clues. There are plenty of immediately rewarding moments too in “Not One, Not Two,” like the organic acid bassline in “Maurin Quina”, the euphoric drum fills of “Big K” and the intoxicating groove of the hypnotic vibe-setter “Jah Oto”.

Bülbül is Turkish for a singing bird while Yumurta simply means egg. Which one is first? Who is to follow? It’s this enigmatic entanglement between the two artists which creates the lurking tension, emphasized by the Zen Kōan-like title. The beauty in this album is a peculiar one, and it certainly is a rabbit hole too. Dissonance is fluid as everything moves, and whenever two sounds collide, a third one emerges.

Damiano von Erckert’s ‘The Past, The Present The Future’ lands on Aus music this November perfectly in time for the winter season. TPTPTF is Damiano’s third studio album and sees him perfectly balancing rave euphoria with more cuddly intimate moments moving effortlessly from deep Detroit techno to the spacious kraut sounds associated with his homeland. ‘The Past The Present The Future’ has depth substance and timelessness all packaged beautifully by design and art legend Eike Koenig

'The Past, The Present, The Future is for all independent thinking romantics and specialists looking for urban melancholy and the feeling of freedom and security. It is for those who find themselves in the dust and rain of the night darkness. It serves people who are determined to conquer their inner fears and readjust the orientation of their minds to banish stress, anger and despair from their lives. Finally, it is the soundtrack for lovers and fighters who want to slow down time and create new patterns to open up new dimensions in their lives as ravers, dancers and people of the night. It is about forgotten fragments of past sounds and the simplicity of clubbing'

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Repressed! Illmatic, the 1994 studio debut of Nasir "Nas" Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G.,it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. What came next threw critics and fans for a loop, but was no less influential than Illmatic, and would become the most commercially successful album in the entirety of Nas' discography. The 1996 sophomore follow-up was titled It Was Written, and in contrast to the urban bleakness of his debut, had Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written was not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel "JoJo" Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur. Not only was It Was Written received warmly by critics, but became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking "Street Dreams", and the Grammy-nominated "If I Ruled The World (Imagine That)", and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more.

Swords and metal go hand in hand. That’s what crossover thrash band High Command say, having turned heads with their debut album Beyond The Wall of Desolation (2019). But it’s not solely metal music which influences the band, who cite the lustful violence of Robert E. Howard, Michel Moorcock, Jack Vance and many other legendary pulp writers of the 20th century as an impetus for their expansive storytelling.
“People would also be surprised to hear we drew quite a bit of inspiration from the music of Ennio Morricone, especially in regards to writing some more of the epic, grandiose passages and chord progressions.” says the band.
Now, with their second album, Eclipse of the Dual Moons, the band take their love of storytelling a step further, deepening and widening the world of Secartha, the realm of High Command’s songs. The band place themselves as omniscient narrators of the world they have created, and say that they are inseparable from Secartha and its people. “It’s one thing to make a good metal record, but it’s another to put on top of it a sort of overarching story that makes sense to listeners. The whole High Command project is enriched by lyrics articulating characters, a world, and trials faced within it. We want our records to be immersive and leave listeners with a feeling they’ve experienced something bigger than the music.”
It’s not just a question of widening the world, which the band first started exploring on The Secartha Demos (2016); Eclipse of the Dual Moons sees High Command honing their process to a fine art “it’s like we started with chiseling a rock… this record is the moment the rock in question begins to look like an actual sculpture.”

Goodbye, Asshole is the first studio album by San Francisco scuzz-wave merchants Fuckwolf—its a rat’s nest of deep grooves, lost ’70s rock riff intentions and art punk damage. These conundrums of time inform Goodbye, Asshole, but they are hardly romanticized in its music. The band, Eric Park (bass, vocals), Simon Phillips (drums) and Tomo Yasuda (guitar) sound blazing and scuzzy, a tight low-fi energy blasted onto tape at renowned Bay Area indie studios summarizing the last twenty years of San Francisco’s wild artistic soul – one that is now hard to find much evidence of in the city itself, but impossible to miss in the band’s sound. Fans of OSEES, Pink Fairies, late ’70s NYC, Emotional Rescue-era Stones, trashy post-punk dub and solvent-huffing rejoice!

For Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates "Brother K" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: "The Blues", where he abandons his trumpet to unleash the full force and warmth of his voice. The musicians withdraw to a surprisingly light theme. We leave as we arrive, on tiptoe. However, we leave with a certainty: "Yes Dizzy, you made it".

Dizzie Gillespie, Trumpet and Vocals
Mike Longo, Piano
Alexander Gafa, Guitar
Earl May, Bass
Mickey Roker, Drums
Guest Artist : Jon Faddis, Trumpet on tracks 9 and 10

Recorded at the Singer Concert Hall

Laren Jazz Festival, 25.VIII.1973

STEREO ℗ 1973 VARA

Remastered by ℗ & © 2017 FONDAMENTA

Made and printed in Germany

Swords and metal go hand in hand. That’s what crossover thrash band High Command say, having turned heads with their debut album Beyond The Wall of Desolation (2019). But it’s not solely metal music which influences the band, who cite the lustful violence of Robert E. Howard, Michel Moorcock, Jack Vance and many other legendary pulp writers of the 20th century as an impetus for their expansive storytelling.
“People would also be surprised to hear we drew quite a bit of inspiration from the music of Ennio Morricone, especially in regards to writing some more of the epic, grandiose passages and chord progressions.” says the band.
Now, with their second album, Eclipse of the Dual Moons, the band take their love of storytelling a step further, deepening and widening the world of Secartha, the realm of High Command’s songs. The band place themselves as omniscient narrators of the world they have created, and say that they are inseparable from Secartha and its people. “It’s one thing to make a good metal record, but it’s another to put on top of it a sort of overarching story that makes sense to listeners. The whole High Command project is enriched by lyrics articulating characters, a world, and trials faced within it. We want our records to be immersive and leave listeners with a feeling they’ve experienced something bigger than the music.”
It’s not just a question of widening the world, which the band first started exploring on The Secartha Demos (2016); Eclipse of the Dual Moons sees High Command honing their process to a fine art “it’s like we started with chiseling a rock… this record is the moment the rock in question begins to look like an actual sculpture.”

This wildly acclaimed Istanbul-based artist, delivers an unforgettable 4th album Anadolu Ejderi (Anatolian Dragon). Building upon her mélange of Turkish psychedelia, empowered commentary and retro-futurist sonics, her vision is more personal and uncompromising than ever before. Courage. Bravery. Daring. Those are the watch words that guided Turkey"s Gaye Su Akyol when she was making Anadolu Ejderi, her first full-length release in four years. Already lauded for her startling, innovative mix of Turkish psychedelia and folk song, surf music and ʼ90s Western rock, a global sweet spot where Anatolian music heroine Selda Bagcan rubbed shoulders with Kurt Cobain, Akyol was ready to expand her vision after a relentless period on the road. "I was tired of touring," she says. "I really needed a break, some fresh air." The Covid pandemic gave her that, even if it was for the wrong reasons. "With everything closed, we all had to sit at home. The isolation gave me time to write. I ended up with over 100 songs. I tried to broaden the palette: to start with Anatolian folk and pop, then see how to add African and Middle Eastern sounds, the soul revolution, disco, and rock from other cultures. The music is still quite psychedelic, but it connects to different areas, all the pop genres I love so much. The hard part was picking the right songs and the correct order." Everything on Anadolu Ejderi - the title translates as "Anatolian Dragon" - breathes fire. It takes chances, the lyrics offer an exploration of politics in today"s Turkey. The personal is very much part of that. "In a political climate where a woman"s commitment to her passion, to falling in love, to her sexual identity is revolutionary enough, she is deeply passionate and able to express her love freely," Akyol notes. "It would have been easy to sit in the comfort zone of the past."

70 or so minutes of boogie funk from Germany, recorded live at the band's peak in their hometown Saarbrücken in 1987. Never heard before songs, now remastered. Limited to 100 copies.

During their short but intensive almost four years of existence Citro played about 50 shows and composed 32 songs that got performed live. This cassette holds 14 songs that draw a broader picture and captures their energetic and playful performance on stage. A band in great harmony that had developed its own sound.

This time capsule is the perfect addition to Citro's extended Smile EP reissue on funkscapes a few months ago. Encore!

Originally recorded to cassette at Jugendzentrum Saarbrücken, 30 April 1987.

Bettina Kümmel - lead & backing vocals, keyboard
Volker Schmidt-Hildebrandt - lead & backing vocals, guitar
Willy Walinsky - keyboard, backing vocals
Andy “Lemon“ Meyer (1963-2004) - bass
Kurt Landry - drums
Ralf Schmidt - live engineering

Never-before released Ahmad Jamal in the 1960s,
recorded at the Penthouse Jazz Club in Seattle.
Official release supervised by Ahmad Jamal. This is
Volume One.
Remastered audio transferred from the original tape
reels.
Includes an extensive booklet with previously
unpublished photos from Chuck Stewart and Don
Bronstein, essays by jazz writer Eugene Holley Jr. and
producer Zev Feldman, plus interviews with Ahmad
Jamal, Jon Batiste, Kenny Barron, Aaron Diehl and
Marshall Chess.
This will mark the first release from producer and ‘Jazz
Detective’ Zev Feldman’s new label venture, Deep
Digs Music Group, in partnership with Elemental
Music.
Featuring Ahmad Jamal on piano, Richard Evans on
bass and Chuck Lampkin on drums.

A slice of Norwegian cultural history in album form – a unique
interpretation of traditional Norwegian Travellers' songs.Elias Akselsen,
Ola Kvernberg and Stian Carstensen take us on a journey through
Norwegian music history
The album's title, "Horta", means "authentic" in the language of the Travellers,
Romani. Elias Akselsen (74) is a member of the oldest generation who knew and
can remember the "authentic" life of the Travellers, and is today one of the
foremost representatives of the musical heritage of the Norwegian Travellers/
Roma. He was born on the road and learned to play and sing the traditional songs
while gathered around the bonfire with his relatives. He has a deep and inborn
appreciation of these songs. Musician/producer Stian Carstensen and musician/
arranger Ola Kvernberg join him in raising these old songs to a new level. With the
addition of guest artists Anita Kleppe and Sara Wilhelmsen, three voices from
three generations of Travellers meet one another. Together they have recorded
their unique interpretations of nine Travellers' songs, some known and some
unfamiliar, with the aim of preserving and carrying on the rich, but partly hidden,
cultural heritage of the Travellers, and of making it more widely accessible.
The musical tradition of the Travellers is vivid and complex, featuring elements
from a variety of countries and cultures – from broadside ballads and folk songs
to Russian folk tunes and Balkan rhythms. In many ways this music bears
witness to the way the Travellers drew musical inspiration from their travels. In
addition to the treasure trove of songs the Travellers have kept alive, they have
also had a strong influence on Norwegian folk music. Many traditional fiddle
tunes that are well known today can be traced back to the Traveller fiddler FantKarl, and one of Norway's most famous fiddlers, Myllarguten, often learned tunes
from Travellers passing by.
This is the Norwegian equivalent of blues and soul, and has at least as much
authenticity as the American genres we know so well. But it belongs to us
Norwegians, and to the Norwegian landscape, nature and people. Today Akselsen
is the leading practitioner of the musical heritage of the Norwegian Travellers/
Roma. He was born on the road, with genuine Travellers on both sides of his
family; he was the great-grandchild of the "Traveller king" Stor-Johan on one side,
and of "sea vagabonds" in Bergen on the other. Today he is the last remaining
representative of the original song tradition, and also practises traditional
handicrafts, making knives and whisks.
The album was produced by Skøyerstaten Teater, a voluntary organisation that
works to present the cultural treasure trove of the Travellers/Roma in an artistic
form

'Breakfast in New Orleans Dinner in Timbuktu' is Bruce Cockburn's 1999
album written to encourage his fans to look forward to the new century,
while learning from the past
It contains a travelogue in the album's lyrics, both to familiar places of home and
family as well as social imperatives from visits to developing countries. Through
it all is Cockburn's reflections on the dynamics between men and women and
spiritual mysticism. Musically the album features the vocals of three women who
appear throughout the album. Jonell Mosser sings on two songs, including the hit
single "Last Night of the World"; Margo Timmins of Cowboy Junkies on the sultry
"Mango" and a cover of the Fats Domino nugget "Blueberry Hill", and most
significantly for the album's consistency, Lucinda Williams appears on four tracks.
Her standout track is "Isn't That What Friends Are For", a tender song of friendship
is made more poignant by Williams' ability to convey deep emotion.
Bruce Cockburn has written more than 400 songs on 35 albums over a career
spanning 50 years, of which 23 have received gold or platinum certification. He
has sold more than nine-million copies worldwide, is a member of the Canadian
Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30
nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".

Hailing out of Marl, Germany, this four piece Post-Hardcore group really
hits you deep in your emotions
From the ambient music to the emotional lyrics that really strike a nerve, Our
Mirage offers a vast variety of elements that many of us can relate to. This young
group is becoming known for the emotion that they pour into their music and
their latest release Unseen Relations takes that line even deeper. The group
largely focuses on the problems that our youth deal with internally but their music
doesn't just speak to them, it is very intuitive of the problems and struggles that
we all deal with on a common basis.

RELEASE OF THE CLASSIC 1996 SWEDISH BLACKENED DOOM METAL
MASTERPIECE OF MELANCHOLY 'FOR SNOW COVERED THE
NORTHLAND'.The roots of Ancient Wisdom trace back to 1992 when the
project was formed by Marcus E Norman (Throne of Ahaz/Bewitched) in
Ume, Sweden as Pain', then Ancient'
After the release of the first demo 'In The Eye Of The Serpent' in 1993, the name
was updated to Ancient Wisdom' & the recording of the second demo, 'Through
Rivers Of The Eternal Blackness' swiftly followed in December of 1993. On the
back of this, a deal was signed with Italian label Avantgarde Music, leading to the
recording of the full- length debut album,For Snow Covered The Northland'. The
studio sessions took place in December of 1994, though the album did not see
the light of day until 1996.
'For Snow Covered The Northland' was a triumphant journey of atmospheric &
melodic blackened doom metal, with sombre & hypnotic guitar leads permeating
the album to great effect amid the anguished screams. Also utilising acoustic
guitar & piano/keyboard passages, the opus overall exudes an ambience of deep
melancholy & despair. The album was recorded at The Garageland Studio &
produced by Henrik Kjellberg, plus drum programming was made by Fredrik
Thorendal, founding member of Swedish legends, Meshuggah.
' For Snow Covered The Northland' has been remastered for this release &
contains a bonus disc featuring extensive rare material from the early years of the
band, including the 'In The Eyes Of The Serpent' & Through Rivers Of The Eternal
Blackness' demos, plus rare promo & rehearsal tracks.

Moundrag members Camille and Colin from Paimpol, Brittany are giving a
new life to the 'hardprog' sub-genre
Camille plays Hammond organ, Colin plays drums, and both of them sing.
Moundrag clearly shows that you don't need a guitar to make rock music. They
have everything to have a massive and powerful sound: the Hammond organ
sound wrecks everything in its path like hurricanes, the drums rumble like a
storm, the vocals are dubbed, harmonized, highlighted, in that vintage rock style
that has been enjoying a revival for the last few years.
From their instruments to their look, everything is vintage, except them. However,
they seem to have come straight from a 1970s psychedelic trip! In any case, they
didn't forget to bring back the wild energy of the bands of that time to compose
their own music. Bold tracks with lacerating riffs, which evoke ELP, Atomic
Rooster and Deep Purple while adding their personal touch.
'Hic Sunt Moundrages' is the result of a journey where music, imagination and
visuals unite as one, transporting you into a transcendent universe.

"Her voice is a mesmerizing thing, deep and plummy enough to shake
trees and stir hearts" " PitchforkThis wildly acclaimed Istanbul-based
artist, delivers an unforgettable 4th album Anadolu Ejderi (Anatolian
Dragon)
Building upon her mellange of Turkish psychedelia, empowered commentary and
retro-futurist sonics, her vision is more personal and uncompromising than ever
before.Courage. Bravery. Daring. Those are the watch words that guided Turkey's
Gaye Su Akyol when she was making Anadolu Ejderi, her first full-length release in
four years. Already lauded for her startling, innovative mix of Turkish psychedelia
and folk song, surf music and E 90s Western rock, a global sweet spot where
Anatolian music heroine Selda Ba can rubbed shoulders with Kurt Cobain, Akyol
was ready to expand her vision after a relentless period on the road.
ONLINE. LondonJazz News - Album review due PRINT
Mojo magazine - Album review due (should be a half-page) + Album included with
a photo in the "Coming Next Month …" section at the end of their reviews pages
(December 2022) / Uncut magazine Album review due (January 2023 issue) +
Album mentioned in 'Coming next month' box in review section (December 2022)
+ pitched her for a 'I'm New Here' feature, is being considered / The Wire
magazine - Want her to do the 'Inner Sleeve' column + still considering her for a
feature at a later stage + might be included in a possible Istanbul feature + is
being considered for an album review / Songlines magazine - 'Spotlight' (1 page)
feature due (issue out December 2022) + album review due (issue out December
2022) / New Internationalist magazine - Considering her for a 'Spotlight' feature +
Might review the album / Hi-Fi Choice magazine Album review due (January 2023
issue, out 1 December 2022))

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

For Fans Of: Bacao Rhythm & Steel Band, Menahan Street Band, El Michels Affair, The Poets Of Rhythm. Debut LP from The Winston Brothers! Featuring members of Bacao Rhythm & Steel Band. Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. “DRIFT” is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre’s past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, “DRIFT” draws on the raw energy inherent to ‘60s / ‘70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift? Tracks: 1. Winston Theme 2. Boiling Pot 3. Hang On 4. Drift 5. Northern Light 6. Metering 7. One Thing 8. Free Ride 9. High Life 10. Think 11. Brother's Strut

Recorded in the summer of 2020 whilst the world was in flux, the album is drenched with a feeling of freedom as Garwood and drummer Paul May sheltered from the world outside. It was, Garwood explains, “a heat soaked fever dream of our soul nectar in sonic form”. Recalling the past, gathering the elements from the present, the two artists – whose knowledge of one another’s playing is apparent throughout – work together with exquisite tones and percussive detail in this intimate recording. Garwood expands, “In the deep summer heat wave of ‘20, when everything was closed and people were hiding, I hit the road West to join my brother in music in his place, bungalow magic. We knew we had to play - for our souls, for the soul of humanity, to bring down the machine and tyranny, to invite the angels in, to save ourselves from insanity. Play we did, the guitars detuned until bee’s wings would make the strings sing. We began with the drum, and the things that shake and rattle, the drones of the heat, we sweated and we worked it until the night calmed us.This is not a lock down album, for we were free in our spirits when this was created, free from any desires to conquer and fill our pockets with the booty of success.”