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‘Funny Looking Angels’ is the debut album by Smith &
Burrows, reissued on special edition picture disc
exclusively for National Album Day 2022.
The band, made up of Tom Smith (Editors) and Andy
Burrows (Solo, I Am Arrows, Razorlight, We Are
Scientists), released their Smith & Burrows debut in
November 2011, a Christmas album combining original
recordings and four covers - ‘Only You’ by Yazoo,
Black’s ‘Wonderful Life’, ‘Funny Looking Angels’ by
Delta and ‘On and On’ by Longpigs.
This double-sided picture disc features the iconic
wings of the album cover and the Smith & Burrows
logo respectively. A fan favourite and a staple for
rotation at Christmas.

Mando Diao is back on full effect having played all the major rock-festivals across Europe in summer 2022 including Southside and Novarock. Just before the summer-season they rolled out the first in a series of volumes with sizzling hot and high octane ROCK fresh of the studio. Vol 1 produced the radio-success "Frustration" that managed to climb all the way to No 2 at rock-radio in Germany. Now we are happy to announce Vol 2 to drop 23rd of September having parts of the band in Hamburg for an exclusive and personal 20 YEARS OF MANDO DIAO panel during Reeperbahn Festival. The lead-track "Primal Call" is a hippie-like sounding one that draws inspiration from Led Zeppelin and King Crimson, a much punkier version. No logic whatsoever in the changes throughout the track but hey, that's how the band likes it. Full of surprises. As if the producer was a total lunatic out of control. "Fire in the hall" is a short, intense song written by Björn and Jens. Once again, a blend of primitive rock'n'roll feel and electronics. For example, the drums are based on samples of Patso's drumming. The lyrics are simple and almost trivial, with a "La Vida Loca" vibe: start a great fire, for yourself and others. Most things can be solved with a cleansing dance - both in reality and in lyrics. "If you write the lyrics together with someone, it's easier to avoid becoming pretentious and over-analytical," they summarize. Finally, "Charlie", about their current producer (Charlie Storm). One of the greatest there is having worked with so many big releases (Roxette, In Flames, Hurl etc). At least partly. They were excited about him and felt that he deserved a song. Or maybe they didn't have anything else to write about. Everyone had different inputs, but it ended up being a pure rock'n'roll song. And a real banger.

Durty Geeks are a band at the boundary between Soul, Funk and Hip Hop born in 2013. The lineup is quite uncommon in the Italian
music scene, despite the usual four elements: Federico “Piezo” Pezzotta, on the electric piano, keyboards and synths; Francesco “Frenz” Crovetto, founding member and drummer of OTU; Gregorio "Greg" Conti, bass player also part of Verbal and Bangarang!; Edoardo “DJ Edo” Fumagalli, on the turntables and samplers.

The Durty Geeks sound universe is an illegitimate son of Hip Hop, but without the main element ‐ the voice ‐ replaced by scratches and
samples. This produces an instrumental form that winks at the American soul and funk of the 60s and 70s, as well as the Italian compo‐ sers who in those same years signed cult movie soundtracks: Piccioni, Nicolai, Bacalov, Trovaioli to name a few.

From “La Dama Rossa uccide sette volte" to "The Mack", the sound flows like a second feature film screening. A sequence shot that
does not indulge in the past but that leads straight into modernity thanks to the more contemporary interventions of synth and scrat‐
ches, and to sporadic experimentations in electronics.

The first EP "We Gun Make It" was released in 2014, an exploration of the american imaginary linked to weapons, between urban and
rural contexts, containing 3 tracks, self‐produced and printed by CORPOC.

The first full length album is "Also Starring", 9 tracks plus 5 skits mixed by Tommaso Colliva (Muse, Afterhours, Caliber 35 etc.) which
constitutes an instrumental journey through B‐movies filmography, citing cinema subgenres such as wuxia, blaxploitation and italo hor‐
ror.

Red Hot Chili Peppers announce their brand new studio album, Return of the Dream Canteen which will be released October 14th on Warner Records. The surprise announcement was dropped at Denver’s Empower Field to rapturous response as the North American leg of their critically and commercially acclaimed global stadium tour kicked off.

The news of Return of the Dream Canteen's imminent release marks the band’s second album of 2022, hot on the heels of the platinum-selling chart topper Unlimited Love which was released in April debuting at #1 in the UK. It will also be the band's second Rick Rubin produced album of 2022, and reinforces their reputation as a band at their absolute peak, riding the crest of an undeniable creative wave.

Continuing to win over audiences across the generations, the band performed a run of sold-out UK/EU dates earlier this year, including two nights at London Stadium. "A scorching European touch-down from the California legends" – CLASH

We went in search of ourselves as the band that we have somehow always been. Just for the fun of it we jammed and learned some old songs. Before long we started the mysterious process of building new songs. A beautiful bit of chemistry meddling that had befriended us hundreds of times along the way. Once we found that slip stream of sound and vision, we just kept mining. With time turned into an elastic waist band of oversized underwear, we had no reason to stop writing and rocking. It felt like a dream. When all was said and done, our moody love for each other and the magic of music had gifted us with more songs than we knew what to do with. Well we figured it out. 2 double albums released back to back. The second of which is easily as meaningful as the first or should that be reversed. 'Return of the Dream Canteen' is everything we are and ever dreamed of being. It’s packed. Made with the blood of our hearts, yours truly, the Red Hot Chili Peppers.

Fabrice Lig has melody running through his veins. On his quest to explore his deep love for the bitter-sweet yearning of Motor City techno, his tracks transcend trends. Over his three-decade spanning career he has refined his blend of soul-infused dance music to striking effect. His gift for a catchy hook is unmatched. His new studio album "The Mental Bandwidth" shows his musical range as a producer once again. On the album's twelve tracks, he effortlessly traverses, cosmic house, funkified techno and electronica, combining his trademark quirky melodies with playful songwriting and dance floor focused beats. The album format is giving Lig enough space to explore his musical ideas from different directions while staying true to the overall atmosphere. "The idea for the album was to go back to the fundamentals of the original Detroit sound and to find new ways of expressing that soul in my music - as I've been doing for years", explains Lig. With Ann Saunderson and the former Kraftwerk-member Wolfgang Flur, the album features two heavy-weight collaborations that connect the "The Mental Bandwidth" to Detroit's musical legacy, too. Slikk Tim aka Garry Grittness also has a cameo in the form of a funky bassline on "Healing", the pop-infused Ann Saunderson collaboration. The title of the album is inspired by Lig's lecture of Sendhil Mullainathan and Eldar Shafir book "Scarcity: Why Having So Little Means So Much" which explores new approaches to reduce poverty. "The authors discovered that the mental bandwidth of poor people is sometimes really low because of short term issues they are facing and are forced to solve", explains Lig. Those issues are reducing the mental bandwidth for long term thinking capacities, which in turn has consequences for the decision making process. An example: before the quality of education of poor kids is increased, the quality of life they have must be increased. This increases the capacities of the kids to learn more than solely better educational programs.

Driving electro tracks by Detroit Grand Pubahs and UR member Bileebob. Comes with a solid acid infused Derek Plaslaiko remix. "Bileebob was living in the lofts at 1217 Griswold when I first met him, this is one of the seminal places that the post Music Institute Detroit scene grew out of. People who lived there performed or threw parties in their lofts for rent money, other people living at 1217 included Buzz Goree, the founders of Paxahau, De3n System. Bileebob's an amazing and unique part of the Detroit scene, having created music and art for years, performing locally and internationally as a member of the Detroit Grand Pubahs and UR, releasing on Underground Resistance, and had a regular zine for so many years. When he sent us the promo for "Star Cross" from his personal Bandcamp page, we loved it, and for the second No Way Back stream both BMG & Derek ended up playing it. We just loved the song, so we asked him if we could give it the full release, and we had Derek Plaslaiko remix it. We've included an unreleased amazing tough electro mix of "Network", a song currently on his Bandcamp page. Digitally we've included another more raw mix of "Network" and an after the after party 1217 kind of comedown jam "Club Kid Up All Night"."

More 'hard hitting guitar soul' from East London band New Street Adventure who are back on Acid Jazz with their new album No Hard Feelings.

New pressing on Opaque Natural Vinyl. For Fans Of... Durand Jones & The Indications, Tame Impala, Temples, Lee Fields. Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold..... and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel. Sage Motel, Monophonics' fifth studio album since 2012, tells its story. Once again produced by brilliant bandleader Kelly Finnigan, the album captures a timeless sound that blends heavy soul with psych-rock. With their previous album, It’s Only Us, selling over 10,000 physical units and garnering over 20 million streams, Monophonics have built a reputation over the past decade as one of the most impactful bands in the country. If these walls of the Sage Motel could talk, this is what they'd say. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel. Tracks 1. Check In 2. Sage Motel 3.Let That Sink In 4.The Shape of My Teardrops 5. Broken Boundaries 6. Love You Better 7. Never Stop Saying These Words 8. Warpaint 9. Crash & Burn 10. Check Out

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

Die Musik von Surprise Chef basiert auf dem Hervorrufen von Stimmungen; ihre lebendigen Arrangements nutzen Zeit und Raum, um Klanglandschaften zu schaffen, die den Zuhörer in ihre Welt einladen. Der unverwechselbare Sound des Quintetts speist sich aus der Filmmusik der 70er Jahre, der funkigeren Seite des Jazz und den Samples, die die Grundlage des Hip-Hop bilden. Sie verschieben die Grenzen des instrumentalen Soul und Funk mit ihrem eigenen Ansatz, der durch unzählige Stunden im Studio, das Studium der Meister und - vielleicht am wichtigsten - durch die "Tyrannei der Distanz", die ihrer Musik eine einzigartige Perspektive diktiert, verfeinert wurde. Mit ihren ersten beiden Alben All News Is Good News und Daylight Savings haben sich die aus der Nähe von Melbourne, Australien, stammenden Musiker eine eingefleischte Fangemeinde erspielt und ihren Sound von ihrem Heimstudio aus in alle Ecken der Welt gebracht. Die Band ist nun bei Big Crown Records unter Vertrag und reiht sich damit in eine Reihe zeitgenössischer und klassischer Sounds ein, die die Musik von Surprise Chef seit ihrer Gründung im Jahr 2017 beeinflusst haben. Surprise Chef besteht aus Lachlan Stuckey (Gitarre), Jethro Curtin (Keyboards), Carl Lindeberg (Bass), Andrew Congues (Schlagzeug) und Hudson Whitlock - das jüngste Mitglied, das von der Percussion über das Komponieren bis zum Produzieren alles macht. Die selbsternannten "moody shades of instrumental jazz-funk" haben von allem etwas: druckvolle Drums, mitreißende Keys, eine Rhythmusgitarre, die man auf einer Studio One-Platte hören könnte, und Flötenlinien, die von einer Blue Note-Session stammen könnten. Aber wenn man einen Schritt zurücktritt und sich die Gesamtheit ihres Sounds und ihrer Herangehensweise anschaut, dann hört und sieht man eine Gruppe, die mehr ist als die Summe ihrer Teile. In vielerlei Hinsicht verkörpert Surprise Chef die Redewendung "the benefits of limits". Ihre Möglichkeiten waren insofern begrenzt, als es in Südost-Australien nicht viele Leute gab, die instrumentalen Jazz/Soul/Funk machten oder darüber sprachen, geschweige denn Platten herausbrachten. So mussten sie ihren Sound und ihre Herangehensweise in einer Art kreativer Isolation entwickeln, in der sich ein kleiner Kreis von Freunden und gleichgesinnten Musikern gegenseitig befruchtete. "Da wir in Australien so weit weg sind, bekommen wir nur flüchtige Einblicke in die Ursprünge dieser Musik", sagt Stuckey. "Aber als wir ein Label wie Big Crown hörten, wurde uns zum ersten Mal bewusst, dass man frische, neue Soulmusik machen kann, die nicht super retro oder einfach nur nostalgisch ist." Dieser Ansatz ist auf ihrem neuen Album Education & Recreation deutlich zu hören. Tracks wie "Velodrome" verbinden klobige Drums mit einer ohrwurmverdächtigen Synthie-Linie, die so klingt, als würde sie auf einer Ultimate Breaks & Beats-Compilation zu finden sein, während Nummern wie "Iconoclasts" zeigen, dass sie ein Händchen für die geschmackvolle Nutzung von Raum haben. Vom erdrückenden Intro von "Suburban Breeze" bis zum schwebenden, sanften Bop von "Spring's Theme" haben Surprise Chef ein Album zusammengestellt, das dich durch Höhen und Tiefen der Emotionen führt. Ein lebendiger, die Fantasie beflügelnder Sound! Dem weiten Spektrum dieser Instrumentalmusiksparte wird mit diesem neuen Album ein modernen Klassiker hinzugefügt.

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

South Street delve into the The Sound Of Detroit from one of its unsung heroes, reissuing Amp Fiddler's 'Motor City Booty' LP on Yellow & Blue vinyl respectively. Coming straight off the D Funk assembly line, it's a full on dance floor affair from Motown to P-Funk, Techno and Neo Soul.

This 12 track album produced by Amp Fiddler & Yam Who? includes the massive 'Soul Fly' sounding like a Mark Ronson production had he been hanging out with George Clinton's Parlet followed by the bonafide P-Funk anthem 'Steppin' both featuring the stunning vocals by the Dames Brown girls.

Amp Fiddler is credited for taking both a young J Dilla and also Q-Tip under his wing teaching them his Akai MPC techniques, setting the path for some of Hip Hop's finest recordings which have defined the shape of things to come.

His musical collaborations & current duties include: Moodymann's musical maestro, keyboard wizard for Theo Parrish's live band, a longstanding Funkadelic member, co-writer for Sly & Robbie, Prince, Maxwell, Jamiroquai & Seal to name a few.

Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha’s “Orkos,” originally released on cassette, is one of these standout musical diamonds that combines Jazz and Egyptian vocal traditions with Funk, Latin and Soul. Out via Habibi Funk October 10th.

Maha’s “Orkos” immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who’s group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu’s “Ramy” TV Series).

At the time of its release, however, the “Orkos” cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha’s story. Below is a bit more context around the release as well as the campaign schedule.

The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether.

Maha’s “Orkos” album fits this category. Put out in a small run of cassettes, it’s fair to say that the singer’s sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time.

From the funk sounds of “Law Laffeina El Ard” (Single 1, out September 1 with Pre-Order announcement); the moody, mellow sounds of “Kabl Ma Nessallem We Nemshy” (Single 2, out September 23) or “We Mesheet;” to excursions into Latin sounds in the title track “Orkos,” and disco with “Ana Gaya” (Album Focus Track, out October 10) the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time.

We connected Maha in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. She also seemed interested in the idea in bringing her music back to people’s attention. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, having found a copy of it a year or two before, in Cairo. It was then obvious to team up for a collaboration for this project. You can find Moataz’s story about Maha and her music, as well as extensive interviews with Maha herself, in the booklet accompanying the release.

As always, both vinyl and CD come with an extensive booklet featuring interviews with Maha as well as unseen photos.

Orange Vinyl

Home grown UK soul band Stone Foundation continue their most successful year yet with a limited 7” release of their collaboration with legendary disco diva Melba Moore. Now That You Want Me Back featured on Stone Foundation’s recent studio album Outside Looking In (UK album chart #27). Limited to just 800 copies on stunning orange vinyl, the release is completed with a brand new b-side, a collaboration with New York soul man Carlton Jumel Smith. Don’t miss out on 2022’s hottest soul 45!

B. Bravo (aka Adam Mori) returns to Bastard Jazz with the long-awaited follow-up to his 2017 debut LP, "Paradise," with a fresh full-length offering: "Vizionz." Replete with his signature future funk vibes, infectiously soulful grooves, and talkbox excursions, "Vizionz" sees the multifaceted artist take the classic West Coast into outer space. If B. Bravo's last album sought to get lost in paradise - enjoying the moment here and now - "Vizionz" looks forward, feet placed firmly in an established LA vibe, while the matured eyes of a veteran producer gaze keenly to the future.

"Vizionz" arrives following a slew of diverse singles, which highlight B. Bravo's stunning versatility as a songwriter, producer, and collaborator. Last year's "Lifted (What U Waiting 4)" came first, at the end of May, 2020, pairing g-funk talk-box verses and synth lines with rich vocal harmonies and a dance-floor-ready beat. Frequent collaborator Reva DeVito (Miami Horror, Kaytranada) makes a standout vocal appearance on "Fly Bye," the second single. Here, Adam surrounds Reva's vocals with ambient pads, a Dilla-inspired beat, and an irresistible bassline, while Reva's dreamily sings about getting away from it all. The final single, "Believe," sees Chuck Inglish (of the famed duo The Cool Kids) rhyme in his distinctive baritone over a bass-heavy instrumental meant to rattle some car stereos.

The singles offer a view into the rest of the album: Solo B. Bravo joints include "Moon Bounce," a talk-box boogie jam begging for late-night drives with the top down; the largely-instrumental synth improvisation, "Midnight Rider;" the upbeat "Penelope," which showcases Adam's vocal and harmonic prowess; a bumping g-funk interlude, with "Flip Out;" as well as the laid back album opener, "Da Essence."

Further vocal assists come by way of Sally Green on the flirty "10/10," and Rojai on the slow jam ""No Regrets" . Both singers have worked on B. Bravo projects in the past, with Rojai additionally joining forces with Adam to form the duo Kool Customer, whose self-titled debut album was released on Bastard Jazz in 2018. Two more hip-hop-leaning tracks are aided by Def Sound ("Back Times Two") and Nico Fasho ("Ms. Stardust"); leaning heavy into outerspace G-Funk Hip-Hop vibes.

Taken as a whole, "Vizionz" is a much needed boost of serotonin: Uncompromisingly positive, sometimes nostalgic, sometimes aspirational, but always funky. The range of styles is a testament to Adam's indelible production chops, songwriting skill, and ability to collaborate. While it has been a long 5 years since "Paradise," "Vizionz" proves more than worth the wait.

Born and raised in California, with roots in Japan, B. Bravo's signature style of Cosmic Funk and late night synth grooves have made him a favorite among DJ's, dancers, and music lovers worldwide. A tasteful producer, sought after remixer, party rocking DJ, master of the talkbox, band leader, and alumnus of the Red Bull Music Academy, Mr. Bravo is an accomplished performer both at home and abroad.

Heavily inspired by the synthesizer-enhanced R&B grooves of the late '70s and early '80s, B. Bravo debuted in 2009 with the seven-track "Analog Starship" EP. A deeper impression was made the following year with a shorter extended play, "Computa Love," the title track of which was supported by BBC DJ Benji B months prior to release. Additional strides were made with a batch of singles and EPs that followed throughout the next few years, as Bravo toured and performed at numerous festivals around the world.

His relationship with the Brooklyn tastemaker label, Bastard Jazz Recordings, began in 2016 with the 7" single "I'm For Real / Stay The Night' (which notably featured a Mr. Carmack remix of the latter). Bravo's debut solo LP quickly followed with 2017's critically acclaimed "Paradise" - which shone a light on vocalists and frequent collaborators Reva DeVito, Trailer Limon, Kissey, and Lauren Faith - with a remix album appearing six months later.

Additional solo releases have found a home on Gilles Peterson's Brownswood Recordings and Frite Nite, while production credits have appeared on releases from the legendary Blue Note Records, HW&W, All City, Friends of Friends, and Tokyo Dawn. B. Bravo has worked on projects with the likes of Salva, Mr. Carmack, Teeko, DJ Lean Rock, Reva DeVito, Lauren Faith, and Kate Stewart.

Having toured throughout the US, Latin America, Europe and Asia, he's shared the stage with performers like Erykah Badu, Flying Lotus, DāM-FunK, Hudson Mohawke, at a world-spanning range of festivals such as Detroit Electronic Music Fest, HARD LA, Northern Nights, Laneway Singapore, Sonar in Barcelona, Snowglobe, SXSW, Basscoast, Do-Over, Low End Theory, Boiler Room, and Soulection.

B. Bravo's "Vizionz" LP is out on Brooklyn's Bastard Jazz Recordings Spring, 2022.

"Nothing's Going Wrong" is Martha's sophomore album on Blind Faith Records, backed by the mighty Italian Royal Family and produced and mixed by Luca Sapio at Blind Faith Recordings studio. The super solid back beat and the lush horn arrangements evokes the golden era of the Italian movie soundtracks (inspired by Piero Piccioni, Ennio Morricone and Luis Bacalov). Lyrically the album is very much inspired by the socially and politically conscious records made by the likes of Marvin Gaye, Gil Scott Heron and Curtis Mayfield in the mid 70s. A hidden gem proudly shines through in the song ‘ I’ve Still Have A Lot To Learn’; Italian maestro Antonello Vannucchi (leader of the Marc 4 band and keys player behind thousands of iconic Italian soundtracks), has laid down a stellar Hammond B3 take on the melancholic ballad, sadly it was his very last recording session before passing away. Every once in a while an album comes along, and this is one of them, that is beyond what is currently fashionable at any given time, which evokes the best sounds of the soul golden era, combined with Italian soundtracks of the 60s; infuse them together and you get a funk/soul masterpiece, showcasing one of soul music’s most precious gems- Miss Martha High.

Star Feminine Band: a 2020 debut, first journey and a 2022 return! Though not exactly a world music label, Born Bad took up the challenge and released Star Féminine Band's debut album in late 2020. Heaps of acclaims and praise and the whole shebang, then boom: the tour that was to materialize, live, all of the band and its entourage's hopes got cancelled due to Covid. After a long delay, the band finally managed to get to Europe, performing on the Transmusicales Festival, as well as for TV stations like Arte, TV5 and BBC to much acclaim. "Once they played, Born Bad and the band clearly had a "mission accomplished" feeling - that all the energy put into this was worth it, starting with the critics who abounded at the Transmusicales to weigh the phenomenon. They left convinced, just like the audience, enthralled by the direct, live formula. The sequel to the adventures of these new ambassadors for Unicef? They persist and sign with a feverish and energetic soundtrack in which nabo, peulh and waama are enlivened with drum lines and spiced up with more "modern" sounds, spreading words of tolerance and kindness. Simple and direct, they speak of their reality, of the ills of young women who don't always have a choice. Often out of school and destined to selling peanuts, bananas or gari on the roadside, most of the girls around there don't have a future. Forced marriage, precocious pregnancies_ "These kids are heroines!", continues Born Bads JB who, by welcoming them in a record studio, allowed for the formula to be sharpened into a sort of garage band with an afro twist. Thanks to the English lessons that their manager Jérémie Verdier has been providing every Sunday night for two years over videoconference, the girls even experimented with English lyrics in "We Are Star Feminine Band" and "Woman Stand Up". In Paris is the happy outcome of that challenge. Vinyl LP in printed under sleeve with French + UK linernotes + Download code * Digipak CD includes 12 pages booklet with French + UK linernotes.

Back In The World of Adventures Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Retropolis Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Stardust We Are Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Stardust We Are’ was the bands third studio album, and first double-album. It features the epic 25-minute title track which has since become one of the bands signature songs. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork. Flower Power Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Flower Power’ was the bands fourth studio album, and second double-album. It features the nearly 60 minute epic ‘Garden of Dreams’. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork.

Back In The World of Adventures Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Retropolis Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Stardust We Are Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Stardust We Are’ was the bands third studio album, and first double-album. It features the epic 25-minute title track which has since become one of the bands signature songs. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork. Flower Power Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Flower Power’ was the bands fourth studio album, and second double-album. It features the nearly 60 minute epic ‘Garden of Dreams’. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork.

France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.

The pertinency of the recordings only slowly appear On Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.

The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.

Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance.

Bay Area Thrash Metal legend Blind Illusion returns after 34 years with a follow-up to “The Sane Asylum”, featuring Doug Piercy (ex-Heathen) and Andy Gallon (ex-Death Angel)! Thrash as a primitive, earthy genre has given us many greats: Metallica, Slayer, Exodus, Death Angel, Heathen and the like. But the more calculated, technical, and ultimately colorful inventors of progressive Thrash, a genre that blossomed handsomely after Watchtower’s debut in 1985, are what truly push the limits of Thrash and test its creative bandwidth. Blind Illusion on their new album “Wrath of the Gods”, achieve this to a degree that has seldom been approached, let alone passed, in the rest of Thrash history, just as they did 34 years ago on “The Sane Asylum”. What is most impressive and revealing about this album, however, is not the technical ability of the musicians involved (although there is nothing wrong with their ability). It’s the pure brilliance that shapes every song, and the demonstration of how focusing on the art of songwriting will work wonders for a band. “Straight as the Crowbar Flies” introduces us first to the astral energy this album exudes, with catchy riffing and Marc Biedermann’s raspy, growling vocals. The screeching guitar solos and the abrupt rhythm changes keep the song fresh, but the band’s incorporation of technical Thrash elements crossed with extremely catchy riffing and drum arrangements proves to be the strong attributes of this album. There are numerous instances where the band finds its virtue in slowing down, letting a power chord ring out, and then letting the drums restart and propel the song once again. When the band decides to let their guard down and get cagey or manic with the rhythm, it’s done so with precision and doesn’t come at the expense of the song structure. When they get technical, the notes still vibrate with emotion, and the song doesn’t just become a vacuum for skills to be shown off. This message is most evident in every song, which all feature catchy guitar licks and great guitar riffs. What Blind Illusion does best on this new masterpiece is deliver cleverly-written and fun songs with catchy riffs. At the heart of Thrash, that’s really all you can ask for. The effects of how masterfully composed this album is has lend the production a unique ethos that makes it feel human. This is a group of guys who know what die-hard Thrash fans want to hear, and they know how to put it on their 2022 album “Wrath of the Gods”.

Das zweite Album der Indie-Folk-Supergroup um Anaïs Mitchell ("eine der größten Songwriterinnen ihrer Generation" NPR), Eric D. Johnson (FRUIT BATS) und Josh Kaufman (THE WAR ON DRUGS, THE NATIONAL, TAYLOR SWIFT). Produziert von Bandmitglied Josh Kaufman, ist "Rolling Golden Holy" der Nachfolger ihres von der Kritik gefeierten, selbstbetitelten Debüts, das zwei GRAMMY-Nominierungen (Best Folk Album und Best American Roots Performance) erhielt und von u.a. Paste, MOJO, Uncut Magazine als eines der "Besten Alben des Jahres 2020" bezeichnet wurde. Falls sich das Debüt von Bonny Light Horseman jemals wie das Werk einer kurzlebigen Supergroup oder einer einmaligen Abwechslung angefühlt haben sollte (was sie nie war), widerlegt "Rolling Golden Holy" diese Vorstellung mit überirdischer Schönheit, Charme und Fantasie. Diese 11 Songs - allesamt Originale, geschrieben und realisiert vom Trio als Ganzes - folgen den Pfaden der traditionellen Melodien, die die Band schätzt, zu neuen musikalischen und lyrischen Grenzen, und geben den Klängen und Situationen der Geschichte die Schwere und Form der Gegenwart. "Rolling Golden Holy" bestätigt, dass es sich bei Bonny Light Horseman nicht um ein Projekt, sondern um eine Band handelt, die derzeit an der Speerspitze des modernen amerikanischen Folk arbeitet. Die ersten Schreibsitzungen von "Rolling Golden Holy" - und die beiden darauf folgenden Aufnahmesessions, zuerst in Aaron Dessners (THE NATIONAL) Long Pond Studio und dann in dem, was sie als ihr "spirituelles Zuhause" bezeichnen, der wunderschönen und buschigen alten Kirche namens Dreamland - waren eine Reihe von "Ja, und"-Treffen, bei denen jedes Mitglied die anderen ermutigte, eine Idee aufzugreifen und sie ein wenig weiterzuverfolgen, um die Komfortzonen zu überwinden. Auf "Rolling Golden Holy" stellt das Trio eine wesentliche Frage - und beantwortet sie mit jedem Stück: Wo hört die traditionelle Folkmusik auf und wo fängt die moderne Folkmusik an, falls es eine solche Abgrenzung überhaupt gibt? Diese Lieder suggerieren und verkörpern ständig ein unausgesprochenes Kontinuum. Hier zeigen sich BONNY LIGHT HORSEMAN in der vollen Pracht ihres Lebens als komplette Band.

2 x 180 g LP + CD , Gatefold,

Mit über 20 Millionen verkauften Alben weltweit, unzähligen Auszeichnungen und einer Karriere, die sich nicht nur über mehrere Genres erstreckt, sondern auch deren Verlauf geprägt hat, sind QUEENSRYCHE nach wie vor eine Größe für sich. "Digital Noise Alliance", das 16. Studioalbum von QUEENSRYCHE und das vierte unter der Leitung von Gründungsgitarrist Michael Wilton, Sänger Todd LaTorre und Bassist Eddie Jackson, setzt das sich ständig weiterentwickelnde Vermächtnis der aus Bellvue, Washington, stammenden Band fort, das 1982 mit ihrer viel beachteten, selbstbetitelten 4-Song-EP begann. Ihre jüngste US-Tournee mit Judas Priest bewies, dass die Zeit, welche die Band abseits der Straße und im Studio verbrachte, ihren Ehrgeiz und ihr Feuer nur weiter anheizte. "Digital Noise Alliance", das erneut mit Produzent Zeuss (Rob Zombie, Hatebreed) eingespielt wurde, blickt nicht nur auf die vergangenen Erfolge von QUEENSRYCHE zurück, sondern auch in die Zukunft der Band: Vom frenetischen Opener "In Extremis" über das nachdenkliche "Forest" bis hin zu "Behind The Walls", das an QUEENSRYCHE-Klassiker und genreprägende Alben wie "Operation: Mindcrime" und "Empire" erinnert. "Digital Noise Alliance" ist QUEENSRYCHE, die mühelos all ihre Stärken ausspielen - unmittelbar und zum Nachdenken anregend. Durch und durch QUEENSRYCHE eben.

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

The Brattleboro, Vermont trio THUS LOVE stand together, a bond cemented by their experience as outsiders looking in. For THUS LOVE, DIY is an ethos that reflects not only their musical vision but their very existence as three self-identifying trans artists. From the band’s inception, Echo Mars (she/her), Lu Racine (he/him) and Nathaniel van Osdol (they/them) have lived together under the same roof, designed and produced their own merch, and created their own recording studio from scratch. “I realize that most artists don’t live this way,” says Mars. “But for us, it was never really a choice. The art we make is so tied to who we are and the community we’re a part of, that this is the only way we can possibly do it.”

The band was just starting to regularly headline renowned local venue The Stone Church when everything came to a screeching halt. Rather than idly wait, the band decided to take their future in their own hands. Armed with nothing but YouTube videos and her

innate curiosity, Mars constructed a makeshift studio in their apartment, recording during odd hours when their next-door neighbors were out and about.

“If you can imagine a late 1960s folk-rock approach allied to a doomy atmosphere with added touches of lo-fi psychedelia, then you’re getting close to the timbre of Finland’s Hexvessel. There are clearly nods towards King Crimson, Black Sabbath, the Beatles, HP Lovecraft and The Doors, but what the band have managed to do is create something that belongs specifically to them.” – Malcolm Dome, Prog Magazine Hexvessel’s fan-favorite album from 2012, No Holier Temple, gets a luxury 10-year anniversary reissue via Svart Records! No Holier Temple was Psychedelic Forest Folk band Hexvessel’s second full-length album, released to critical acclaim, cult status and some of their biggest sales figures to date. The Finnish “mushroom-devouring pixies” follow up to 2011’s critically acclaimed debut album, Dawnbearer, was described by Roadburn Festival as “a passionate, urgent and gorgeously strange musical spell.” Hexvessel’s break-through album No Holier Temple reached new heights for the band with two Emma Gala (Finnish Grammy Awards) nominations. No Holier Tample also won two Femma awards, which is the Alternative Finnish Grammy Awards. Hexvessel played the prestigious Roadburn Festival in The Netherlands for the first time that year in the church venue of Het Patronaat. The festival sold out in 7 minutes. No Holier Temple also landed in the Main Finnish Charts at #20 and in Alternative charts at #7. No Holier Temple fuses the acoustic 70s folk vibe of its predecessor into a more psychedelic, electric, doom-folk sound with Manzarek-like keys, screeching rhythmic Velvet Underground violins, Miles Davis trumpets and hypnotic freakouts. Weaving the uncanny songs together are the narrative vocals of Mat McNerney, who on this album has matured into the bastard child of Burke Shelley, young Jon Anderson and Paul Simon. Inspired by the progressive, spaced-out haze of bands like Amon Düül II, Van Der Graaf Generator and Ultimate Spinach, whose song “Your Head Is Reeling” they cover with religious abandon. Their sound now expands outward from their eerie, signature, ritual-esque intros into a genre-twisting cauldron of otherworldly rock and the late-night, dreamy spoken-word of artists such as Jim Morrison (An American Prayer) and Ken Nordine.

In March 2021 Dvne released their seminal second album Etemen Ænka which was hailed by fans and press alike around the globe. Eager to bring the new album to the stages, the band was setback by the pandemic as so many other bands. However thanks to their relentless work, Dvne managed to play two successful European tours with their label mates in Déluge and UK shooting stars Bossk. Even though the world is slowly getting back to normal, touring is still a difficult undertaking. So, for the first anniversary of Etemen Ænka the band decided to set up a digital live stream of 4 songs to finally bring the new songs to life to fans around the globe in a safe way. The outstanding live performance was recorded in their hometown Edinburgh together with the help of producer Graeme Young, who already produced Etemen Ænka. For the first time ever, the band performed the new songs live with special guest Lissa Robertson on violin and vocals.

American thrash metal band Whiplash released their debut album Power And Pain in 1986 on the Roadrunner label. The backing vocals were recorded by Rob Kabula & Vinny Stigma of Agnostic Front and Peter Steele & Louie Beateaux of Carnivore. The band has been centred around guitarist and vocalist Tony Portaro, but are also notable for their drummer Tony Scaglione, who left the band after the album release to tour with Slayer.

Power And Pain is available as a limited edition of 2000 individually numbered copies on silver coloured vinyl and includes an insert.

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

Ambolley is revered as the Simigwahene in Ghana – The King of Simigwa-Highlife. Because of his deep, soulful, and funky Highlife sound, he is also sometimes referred to as the “James Brown of Ghana.” And not without reason. His blend of Highlife, Funk, Jazz, Soul, and proto-Rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful Highlife sound he called SIMIGWA-DO. Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and “musical-life-force” has more than 30 music albums to his credit. On his new album "GYEDU-BLAY AMBOLLEY AND HI-LIFE JAZZ" you can hear his versions of some classic Jazz tunes like "Round Midnite", "Love Supreme", Footprints" and "All Blues" as well as some new compositions by the Simigwa - Man himself.

Ginger Wildheart & The Sinners’ self-titled debut album is an energetic album that celebrates rock’n’roll and as Ginger explains it is in “the spirit of the music that we all collectively love, from childhood to the present day. The latest single, "Six Years Gone" by Georgia Satellites is the first song Ginger wanted to play with the band back when this was just an idea. “I became a bit obsessed with the song while in LA for Lemmy’s funeral, and carried it around in my heart from then until we all congregated at the studio.” Ginger Wildheart & The Sinners were formed in August 2019 when Ginger joined forces with Neil Ivison and Nick Lyndon from the band Stone Mountain Sinners. The line up was completed with drummer Shane Dixon (Tri-City Fanfare) and as Ginger explains “Me and The Sinners met for the very first time in the studio, in preparation for recording an album together. We figured out that if we can’t get along with each other then the music would be ultimately worthless. So we went to the pub and got drunk together. The next morning the music started flowing with ease. This is the sound of friendship.”

New single by Pittsburgh, PA-based band The Commonheart. "They pay soulful tribute to the soul gods without disrespecting their exhumed remains." - No Depression Live and in the studio, the Pittsburgh-based collective is offering feel-good positivity, Golden Rule messaging, and sweat-soaked performances that nimbly ease through blues, vintage soul, and rock. The band is bonded by familial-like ties and a desire to foster spiritual uplift. Among its ranks are female backup singers, drums, bass, guitar, a horn section, and keyboards. Out front is Clinton, a lightning bolt charismatic frontman with dynamically expressive pipes that effortlessly traverse bluesy pleading, and honeyed balladeering. "Hustler" is an anthem for perseverance. Told thru the eyes of a street hustler's mindset; this song offers their interpretation of what it takes to make a living in this world thru the hardest times. The narrative runs parallel for anyone that's finding their way thru life with grit, fearlessness & drive. The new album, produced by Steve Berlin, saxophonist, keyboardist, and record producer, best known as a member of the rock group Los Lobos, entitled 'For Work or Love' will be released on September 16th, 2022.

Ltd.Gatefold black 2 x 180 g LP+CD & LP-Booklet
Die schwedischen Progressive-Rock-Legenden The Flower Kings und ihr langjähriger Labelpartner InsideOutMusic starten 2022 eine umfangreiche Reissue-Kampagne, in deren Rahmen der gesamte Katalog der Band auf CD und Vinyl in remasterten Ausgaben neu aufgelegt wird, wobei viele der Alben zum ersten Mal auf Vinyl erhältlich sein werden. Das nächste Album in dieser Reihe ist das fünfte Album der Band, 'Space Revolver', auf dem Jonas Reingold am Bass zu hören ist. Es wird erhältlich sein als Ltd. CD Digipak & Gatefold 180g 2LP+CD & LP-Booklet (zum ersten Mal!), beide mit remastertem und teilweise neu abgemischtem Audio und neuem Artwork.

THE BOBBY LEES, fresh off an extensive European tour that
included the Woodstock, NY-based band’s first stint in the UK,
wowing audiences and critics alike (“screaming feedback,
howling vocals, and a thumping beat suggest that rock’n’roll is
still very much alive” - The Arts Desk), the Sam Quartin-led
quartet announce the release of their Ipecac Recordings’ debut
album, ‘Bellevue’.
 The 13-song album, which was recorded live in-studio, was
produced by Vance Powell (Jack White, Chris Stapleton, The
Raconteurs).
 Iggy Pop, Debbie Harry, Henry Rollins… these are just a few of
the punk icons who have shown support for the band. Sam
Quartin (vocals, guitar), Macky Bowman (drums), Nick Casa
(guitar) and Kendall Wind (bass) make music that is punk in
spirit and soul; unfettered and resolutely honest. To say their
sound is wild and untethered is an understatement. It’s the kind
of aural exorcism any listener can tap into, something that
struck a chord with Henry Rollins who brought them to Ipecac
Recordings where Mike Patton and Greg Werckman signed
them.
 Two European tours in the past year plus their first ever UK tour
in Summer 2022.
 “THE BOBBY LEES’ music, with its Sonic Youth-ian freakouts
and barebones grit, is kind of like the best bad trip ever.” -
Consequence
 “... deliciously sleazy garage rock ‘n’ roll. It’s an old-school
adrenaline rush, overrun with jagged guitar work and vocals that
recall the spit and vigor of CBGB’s in the ’70s.” - Guitar World

Ltd.Gatefold black 2 x 180 g LP+CD & LP-Booklet

Die schwedischen Progressive-Rock-Legenden The Flower Kings und ihr langjähriger Labelpartner InsideOutMusic starten 2022 eine umfangreiche Reissue-Kampagne, in deren Rahmen der gesamte Katalog der Band auf CD und Vinyl in remasterten Ausgaben neu aufgelegt wird, wobei viele der Alben zum ersten Mal auf Vinyl erhältlich sein werden. Das nächste Album in dieser Reihe ist das sechste Album der Band, 'The Rainmaker'. Es wird als Ltd. CD Digipak & Gatefold 180g 2LP+CD & LP-Booklet (zum ersten Mal!) erhältlich sein, beide mit remastertem und teilweise neu abgemischtem Audio und neuem Artwork.

Auf ihrem zweiten Album "Anywhere But Here" verfeinern Sorry ihr Songwriting und begeistern einer Mischung aus Post-Punk und Leftfield 90s Pop. Produziert von Adrian Utley (Portishead).

Sorry's Debütalbum "925" (2020) war nicht nur ein künstlerischer Erfolg, es wurde von Kritiker*innen hochgelobt. Der Zeitpunkt der Veröffentlichung hätte nicht unglücklicher sein können: März 2022. Es kam der Lockdown, an Konzerte war nicht mehr zu denken. Trotzdem hat die Band nicht stillgestanden und hat im letzten Jahr die Twixtustwain-EP und ein Charity-Live-Album zur Unterstützung ihres geliebten Venues Windmill veröffentlicht sowie im fleißig Material für ihr zweites Album geschrieben. Als die Zeit reif war, zog die Band nach Bristol, um mit Adrian Utley von Portishead zu arbeiten und die Welt von "Anywhere But Here" zu erschaffen. Das Ergebnis ist ein mysteriöses, grenzüberschreitendes Album, auf dem die Songschreiber*innen Asha Lorenz und Louis O'Bryen versuchen, mit dem umzugehen, was die letzten zwei Jahre für uns alle mit sich gebracht haben. Im Zentrum steht das zeitlose Songwriting des Duos, das zwischen dem hookigen Post-Punk von "Let The Lights On", dem schrägen RnB von "Key To The City" und dem leftfield 90er-Pop von "Screaming In The Rain" hin und her springt und überall dazwischen Halt macht.

Grave Dancers Union is the sixth studio album by the American
Alternative Rock band Soul Asylum, released in 1992. The album spent 76 weeks on the Billboard music charts and was certified triple-Platinum in 1993, establishing Soul Asylum as one of the most successful Rock groups of the first half of the 1990s.

The album yielded the mega-hit “Runaway Train”, which by winning a Grammy, put the band in a whole new league. Tracks like “Home Sick” and “New World” bear the roots of the Country-Rock revival. “Somebody to Shove” is pure joy Soul Asylum style.

This year Soul Asylum are celebrating the 30th anniversary of Grave
Dancers Union. There will be an extended worldwide tour.

Grave Dancers Union is now available as a limited 30th anniversary edition of 5000 individually numbered copies on black & gold marbled vinyl and includes an insert.

Due to COVID-19, the French avant-garde band Magma was unable to perform live, so they decided to dive into the studio to create new material. This resulted in a brand new album titled Kãrtëhl, a collective album such as they have not made in a long time. The band reformed in 2020 and added new musicians to the lineup, which created opportunities for new innovative compositions. After the rather dark 2019 Zëss, this new work Kãrtëhl features bright and resolutely optimistic collective new work, the result of an “Operation Kartëhl”.

The 2LP Kãrtëhl includes 6 new tracks and an additional 2 bonus tracks, which are demos from Christian Vander’s personal collection, recorded at home in 1978. Housed in a gatefold sleeve, this 2LP-set features an etch on Side D.

Mit seinem dritten Album als Peel Dream Magazine lockt Joseph Stevens in eine fabelhafte, zickzackförmige Welt, die er selbst entworfen hat. Auf Pad verzichtet er auf die unscharfe vorherige Glorie seiner Indie-Pop-Vergangenheit - hier zittert erst ein Vibraphon, stehen Streicher ebenfalls im Mittelpunkt. Der Vorhang hebt sich für einen opulentem Kammerpop und gibt den Blick frei auf Banjo. Glockenspiel. Farfisa. Und als er im Titeltrack des Albums ein Stöhnen ausstößt, wird klar, dass dies kein gewöhnlicher Auftritt ist. Pad ist ein konzeptionelles Werk über das Sich-Verlieren, wenn man nur noch sich selbst hat, und deutet auf eine aufregende neue Zukunft für Stevens' Pop-Song hin, indem es seine eigene Existenz neu interpretiert. Als Nachfolger des erfolgreichen Agitprop Alterna aus dem Jahr 2020 stellt Pad eine bedeutende soundtechnische Entwicklung für den 34-jährigen Songwriter dar, der im selben Jahr mitten in der Pandemie nach Los Angeles zog. Drumcomputer und Synthesizer aus den siebziger Jahren sind geblieben, aber er hat seine schnarrende Offset-Gitarre gegen eine Nylonsaite ausgetauscht und sich für einen sanften Barock-Pop-Sound entschieden, der von Bossa, Folk und seiner eigenen unheimlichen Mystik durchdrungen ist. Neben Vorbildern aus der Mitte des Jahrhunderts wie Burt Bacharach greift Stevens auf die kultisch geliebten Basteleien der Beach Boys aus den späten 1960er Jahren zurück und bietet eine surreale Melange aus alten Orgeln und gefundener Percussion sowie Harry Nilssons Songteppich The Point!von 1970. Pad klingt zwar wunderschön, hat aber auch eine gewisse Dunkelheit. Stevens spricht unsere generelle Ambivalenz gegenüber der Zukunft von allem, was wir kennen, an, teilweise beeinflusst durch seine Zeit in New York zu Beginn der Pandemie. In "Hiding Out" klagt er: Ich wandere an der Vernon Mall vorbei und hinauf zur Queensboro Bridge. Man gibt mir das Gefühl, zwei Fuß klein zu sein, aber das ist keine Art zu leben. Letzten Endes verfolgt Stevens einen Ansatz, bei dem der erste Gedanke der beste Gedanke ist, und lehnt sich an die fantastischen Elemente seiner eigenen Lebensgeschichte an. Pad ist ebenso archetypisch wie seltsam und verwischt genau die Grenzen, die es zu definieren versucht. Die Kunst ahmt das Leben nach, aber das Leben ahmt auch die Kunst nach - und die Ergebnisse können manchmal unvorhersehbar sein. Für Freunde von Sterolab, Beach Boys ca. Smile, High Llamas, Broadcast, The Lilys

In the autumn of 2003, Flunk - then consisting of producer/vocalist Ulf Nygaard, singer Anja Øyen Vister, guitarist Jo Bakke and drummer Erik Ruud - booked in at the Hotel de Roubaix in Paris. The framework for their second album "Morning Star" was recorded during a busy week in the Paris hotel room, before being worked out and finished in their Oslo studio early 2004.

The album was licensed to Kriztal Recordings in the USA the following year, and their version of the album included five tracks not on the original Beatservice Records versions, and omitting the Kinks cover "All Day and All Of The Night".

On this expanded edition of the album, all of the US bonus tracks are included to the original Beatservice Records tracklisting, making it a 14 track album.

Two cover song are included: The Kinks' "All Day and All Of The Night", performed as a duet by Anja and Ulf. The cover is the most up-tempo track on the album, capturing the energy of the original Kinks' classic in Flunk's slightly odd way. There is also an acoustic live-in-studio version of New Order's "True Faith". But most of all "Morning Star" includes very strong original material. Both the title track "Morning Star", and the singles "On My Balcony" and "Blind My Mind" showcases the songwriting talents of Flunk.

The track "Play" didn't make it on the original release of the album. But the band did a total makeover of it for the US release, and the track ended up as the feature song in an episode of the show "The O.C.", and on the fourth "The O.C." compilation album.

Other tracks included from the US version of "Morning Star" are the beautiful "Probably" (originally recorded for the debut album "For Sleepyheads Only"), the New Order classic, "True Faith" (a different version than the b-side to "On My Balcony"), the poppy "Skysong" and the lush "All My Dreams On Hold".

"Folk electronica" has been used by a.o. american press to describe Flunk, and on the "Morning Star" album, they have evolved this further. The album is pure indie pop, less electronica - all tracks built around Jo's trademark guitar sound and the voice of Anja Øyen Vister.

"Morning Star" is an instantly tuneful pop injection, now further expanded and with a new superb sounding 2022 24-bit re-master.

If someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.

The star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm & Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as „Les Black Devils“, „Djinn-Music“, „Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this context that Ernesto would draw the inspiration for a future formula.

Returning to Côte d‘Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards & Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.
Ernesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come soon enough, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.

The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.

* = Vinyl only track

Washington DC resident Bartees Leon Cox Jr. aka Bartees
Strange, announces his new album and 4AD debut, ‘Farm To
Table’, which also includes recent single ‘Heavy Heart’. Where
his 2020 debut record, ‘Live Forever’, introduced the
experiences and places that shaped Bartees (Flagey Brussels,
Mustang Oklahoma), ‘Farm To Table’ zeros in on the people -
specifically his family - and those closest to him on his journey
so far.
 With his career firmly on the ascent, ‘Farm To Table’ examines
Bartees’ constantly shapeshifting relationship with life post-‘Live
Forever’. It also speaks to a deeper lore that says, don’t forget
where you came from, and this album is why. Always
remembering where he came from, across 10 songs Bartees is
celebrating the past, moving towards the future, and fully
appreciating the present.
 An unapologetic and braggadocious indie-trap banger, new
single ‘Cosigns’ celebrates Bartees’ peers, collaborators and
friends; name-checking the likes of Bon Iver, Phoebe Bridgers,
Courtney Barnett and Lucy Dacus, through a genre-defying
outpouring somewhere between swaggering hip-hop and
euphoric alt rock. The song ends on a poem he wrote in his
early 20s, “I don’t know how to be full, it’s the hardest to know, I
keep consuming I can’t give it up, It’s never enough.” ‘Cosigns’
is also a moment for Bartees to acknowledge himself, giving
himself credence and unashamedly basking in that glow. Its
accompanying official video was directed by Pooneh Ghana.
 Born in Ipswich, England, to a military father and opera-singer
mother, Bartees had a peripatetic early childhood before
eventually settling in Mustang, Oklahoma. Later, Bartees cut his
teeth playing in hardcore bands in Washington DC and Brooklyn
whilst working in the Barack Obama administration and
(eventually) the environmental movement. Since charting a path
as a solo artist, Bartees Strange has released two records in
quick succession: an EP reimagining songs by The National
(‘Say Goodbye To Pretty Boy’, 2020) and his debut album
proper, ‘Live Forever’.

Galaxy Heart is Moss' fourth record for Constellation and the companion album to 2021's Phosphenes. Galaxy Heart features guest appearances by Jim White (Xylouris White, Springtime, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor).Jessica Moss is a violinist and composer based in Montréal. She uses amplified and processed violin and voice to create intricate works of expressive electronic, drone, experimental and post-classical Minimalism; her distinctive melodic sensibility often channels Klezmer, Balkan and Middle Eastern tropes, combined with an ear for the textural grit and timbral noise of post-punk, industrial and ambient metal. Moss played in cult agit-prop post-punk band Thee Silver Mt. Zion (2000-2015), has contributed to countless albums by the likes of Carla Bozulich, Vic Chesnutt and Matana Roberts, and most recently has guested on albums by Sarah Davachi and Big|Brave. She has released three solo albums on Constellation since 2017.

Geboren in Ipswich, England, als Sohn eines Vaters, der beim Militär war, und einer Opernsängerin, verbrachte Bartees Leon Cox Jr. eine bewegte Kindheit, bevor er sich schließlich in Mustang, Oklahoma, niederließ. Bartees spielte in diversen Hardcore-Bands in Washington D.C. und Brooklyn, während er in der Regierung von Barack Obama und später in der Umweltbewegung arbeitete. Seitdem er seinen Weg als Solokünstler eingeschlagen hat, hat Bartees Strange zwei hochgelobte Platten in kurzer Folge veröffentlicht: eine EP, die Songs von The National neu interpretiert ("Say Goodbye To Pretty Boy", 2020) und sein Debütalbum "Live Forever" (2020). Während sein Debütalbum sich als persönliche Landkarte der Orte, die den Musiker geprägt haben (Flagey Brussels, Mustang Oklahoma) darstellte, stehen dieses Mal die Personen im Fokus, die Bartees am nächsten stehen und seine Reise bis hier hin mit ihm bestritten haben. Gleichzeitig hinterfragt sich der aufstrebende Musiker darauf stetig, um nicht seine eigene Herkunft zu vergessen. Somit zelebriert er auf 10 Songs die eigene Vergangenheit, richtet sich gen verheißungsvolle Zukunft und genießt den Augenblick.

Geboren in Ipswich, England, als Sohn eines Vaters, der beim Militär war, und einer Opernsängerin, verbrachte Bartees Leon Cox Jr. eine bewegte Kindheit, bevor er sich schließlich in Mustang, Oklahoma, niederließ. Bartees spielte in diversen Hardcore-Bands in Washington D.C. und Brooklyn, während er in der Regierung von Barack Obama und später in der Umweltbewegung arbeitete. Seitdem er seinen Weg als Solokünstler eingeschlagen hat, hat Bartees Strange zwei hochgelobte Platten in kurzer Folge veröffentlicht: eine EP, die Songs von The National neu interpretiert ("Say Goodbye To Pretty Boy", 2020) und sein Debütalbum "Live Forever" (2020). Während sein Debütalbum sich als persönliche Landkarte der Orte, die den Musiker geprägt haben (Flagey Brussels, Mustang Oklahoma) darstellte, stehen dieses Mal die Personen im Fokus, die Bartees am nächsten stehen und seine Reise bis hier hin mit ihm bestritten haben. Gleichzeitig hinterfragt sich der aufstrebende Musiker darauf stetig, um nicht seine eigene Herkunft zu vergessen. Somit zelebriert er auf 10 Songs die eigene Vergangenheit, richtet sich gen verheißungsvolle Zukunft und genießt den Augenblick.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with 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). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Vielleicht ist es der federleichte Groove von FORTUNA EHRENFELD, der die zuweilen tiefe Melancholie in Bechlers Texten in strahlende Freude in den Augen ihres Publikums umzuwandeln vermag.

Mit einem Konzert in der ausverkauften Kölner Philharmonie markiert die Kölner Indie Kult Band den vorläufigen Höhepunkt einer jungen Karriere, die gerade einmal vier Jahre vorher in den professionellen Musikbetrieb entlassen wurde. Was für eine Geschichte.
Gisbert zu Knyphausen rundet dieses Konzerterlebnis in gewohnt souveräner Intensität zu einem denkwürdigen Abend ab. Fortuna in unwiderstehlicher Bestform!

“I think it’s a mistake to equate ‘perfection’ with flawlessness. To be human is to be perfectly flawed,” Johanna Warren observes while describing the joys of analog recording. Her new LP Lessons for Mutants was tracked live with a band to two inch tape—a revelatory new way of working for Warren. “Tape forces you to commit to a performance, eccentricities and all. The little glitches and anomalies that we’re tempted to ‘correct’ are often what make a thing magical.”

Lessons for Mutants is the prolific songwriter’s sixth solo LP and her second for Wax Nine/Carpark Records. The album’s running theme of metamorphosis (the title of the closing track, “Involvulus,” is Latin for “caterpillar”) reflects major changes in Warren’s personal life: after a decade of relentless touring, as the world was closing its borders, the American multi-instrumentalist unexpectedly found herself quarantining in rural Wales, where she’s now permanently homesteading.

Though tracking for the new album began in New York in 2018 in tandem with the sessions for 2020’s Chaotic Good, the majority of Lessons for Mutants was recorded in the UK surrounded by sheep, cows and a forager’s paradise of wild edible plants—a far cry from the urban jungle of LA that Warren had most recently called home. The body of work that emerged from this dramatic about-face is Warren’s most dynamic to date, shapeshifting seamlessly from searing punk screams to sparkly psych-folk soundscapes, from the bootleg ambivalence of Dylan’s Basement Tapes to cosmic stoner grooves reminiscent of Black Sabbath’s acoustic moments.

“Sometimes I can relate to myself/ I disassociate more than I’d like to, but what can you do?” Warren croons in “Tooth for a Tooth,” a wistful piano ballad that conjures the grainy romance of some smoke-filled 1940s jazz club. This kind of to-the-bone lyrical honesty has always been one of Warren’s strong suits, but these latest reflections are especially unflinching. Being forced to stop touring brought no shortage of self-examination for Warren, who quickly came to view her history on the road as an addiction from which she’s been detoxing. This sentiment dances through opening track “I’d Be Orange,” a drum-driven indie rock number replete with Beatles-esque male backing vocals: “Thirst for power, hunger for fame/ Always was a junkie for pain,” Warren confesses. This exploration of masochistic ambition and artistic martyrdom overflows into grunge anthem “Piscean Lover”: “It’s alright, we’re not ok/ We burn out not to fade away.”

“There’s this unspoken rule in modern music—modern life, really—that everything needs to be Auto-Tuned and ‘on the grid,’” Warren concludes. “This record is an act of resistance against that. There’s beauty and power in our aberrations, if we can embrace them.”

Terence Etc., besser bekannt unter seinem Vornamen Terence Nance veröffentlicht sein Debütalbum "V O R T E X", am 19. August auf Brainfeeder. Terence, der sich an der Schwelle zur künstlerischen Form bewegt, ist vielleicht am besten für seine mit dem Peabody Award ausgezeichnete experimentelle Comedy-Sketch-Serie auf HBO bekannt: "Random Acts of Flyness". Aber er ist wirklich multidisziplinär. Er zeichnet. Er schreibt. Er singt. Er spielt Gitarre. Er baut Dinge. Er beherbergt in sich eine Vielzahl von Möglichkeiten, eine Vielzahl von Realitäten, die umherschwirren und nach Ausdruck und Gleichgewicht suchen. Und es ist dieser Wunsch nach Gleichgewicht - Gleichgewicht des Lebens, Gleichgewicht der Emotionen, Gleichgewicht der inneren Energien -, der sein Debütalbum "V O R T E X" hervorgebracht hat.

Das Album entzieht sich einer einfachen Kategorisierung, ist aber vom gleichen Experimentier- und Abenteuergeist geprägt wie Terence' Helden und Zeitgenossen, Künstler wie André 3000, Solange, Serpentwithfeet, Nelson Bandela, Standing on the Corner, Earl Sweatshirt, Nick Hakim und Moses Sumney und sogar der illustre Gründer von Brainfeeder, Flying Lotus. V O R T E X bezieht sich auch auf die Literatur von Louise Erdrich und Toni Morrison sowie auf die Zeichnungen von Ruby Amanze, deren Stimme auf dem Album zu hören ist.

Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.

Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.

Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.

The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.

There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.

Iggy Pop, Debbie Harry, Henry Rollins... nur einige der Punk-Ikonen, die sich tief beeindruckt gezeigt haben von The Bobby Lees aus Woodstock, N.Y. Sam Quartin Gesang, Gitarre, Macky Bowman Schlagzeug, Nick Casa [Gitarre] und Kendall Wind [Bass] machen Musik, die von Geist und Seele her Punk ist; ungezügelt und entschlossen ehrlich.

Ein selbst veröffentlichtes DIY-Album (Beauty Pageant) erschien 2018 und erregte die Aufmerksamkeit des Garage-Rock-Impresarios Jon Spencer, der daraufhin das 2020er Album Skin Suit produzierte.

Im Jahr 2022 machte sich die junge Band, nun road-erprobt und entschlossener denn je, nach Nashville auf in die Sputnik Sound Studios, um Bellevue aufzunehmen, ihr Debütalbum für Label Ipecac Recordings, live im Studio mit Produzent Vance Powell (Jack White, Chris Stapleton, The Raconteurs).

Mit ihrem intelligenten und durchdachten Songwriting folgen The Bobby Lees ihrem Instinkt als Musiker und Freunde und arbeiten gemeinsam an der Entstehung der Songs. Der Sound ist düster, minimalistisch und viszeral, jeder Song eine Ode ans Außenseitertum.

Iggy Pop, Debbie Harry, Henry Rollins... nur einige der Punk-Ikonen, die sich tief beeindruckt gezeigt haben von The Bobby Lees aus Woodstock, N.Y. Sam Quartin Gesang, Gitarre, Macky Bowman Schlagzeug, Nick Casa Gitarre und Kendall Wind [Bass] machen Musik, die von Geist und Seele her Punk ist; ungezügelt und entschlossen ehrlich.

Ein selbst veröffentlichtes DIY-Album (Beauty Pageant) erschien 2018 und erregte die Aufmerksamkeit des Garage-Rock-Impresarios Jon Spencer, der daraufhin das 2020er Album Skin Suit produzierte.

Im Jahr 2022 machte sich die junge Band, nun road-erprobt und entschlossener denn je, nach Nashville auf in die Sputnik Sound Studios, um Bellevue aufzunehmen, ihr Debütalbum für Label Ipecac Recordings, live im Studio mit Produzent Vance Powell (Jack White, Chris Stapleton, The Raconteurs).

Mit ihrem intelligenten und durchdachten Songwriting folgen The Bobby Lees ihrem Instinkt als Musiker und Freunde und arbeiten gemeinsam an der Entstehung der Songs. Der Sound ist düster, minimalistisch und viszeral, jeder Song eine Ode ans Außenseitertum.

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

Novelists FR sind zurück! Aber „Déjà Vu“ setzt sie die Messlatte höher als je zuvor. Mit einem Vibe der an Bring Me The Horizon erinnert, kreieren viele Songs einen Pop-zentrierten Ansatz zeitgemäßer Rockmusik mit Akzenten des modernen Metalcore. Das Resultat sind große Riffs und eingängige Refrains, die in „Smoke Signals“ und „Made By Design“ perfekt vermischt sind.
Auf „Déjà Vu“ gibt es fünf atmosphärische Interludes, die als angenehme Zwischenspiele inmitten der explosiven Songs, wie „Terrorist“, „Do You Really Wanna Know“ und „Lost Cause“ zu finden sind. Diese Zwischenspiele reichen von elektronischen Soundscapes („Mae“) über liebevoll gespielte klassische Gitarre („Erre“) hin zu beflügelndem Post Rock („Colas“).
Novelists FR halten 2022 noch immer ihren groovigen und druckvollen Metalcore Sound („Heretic“). Die Band zeigt immer noch ihre Gitarrenskills, die in kurzen Solopassagen durchblitzen und sich mitsamt der Synthesizer-lastigen Klangwelten perfekt in Szene setzen. Darüber hinaus sind es die elektronischen Elemente, die die Produktion des Albums unglaublich reich klingen lassen.
Viele Dinge haben sich geändert, aber es ist auch aufgrund von Tisches eingängigen Vocals, das Novelists FR ihr Level auf „Déjà Vu“ erneut angehoben haben und am Ende mit einer gewissen Leichtigkeit ihr stärkstes, überzeugendstes, sowie authentischstes Material überhaupt abliefern.

Der Titel von Leon Thomas' drittem Album für Bob Thieles Flying Dutchman-Label bezog sich auf Oliver Nelsons klassische LP "The Blues and the Abstract Truth" von 1961. "Blues And The Soulful Truth" wurde im Original 1972 veröffentlicht und enthielt eine All-Star-Band, zu der Pretty Purdie (Schlagzeug), Stanley Clarke (Bass), Cecil Payne (Baritonsaxophon) und Neal Creque (Keyboards) gehörten. Es ist ein Soul meets Jazz meets Blues-Meisterwerk mit Arrangements von Ex-James Brown Hornist Pee Wee Ellis.

Der Klassiker enthält das außergewöhnliche 'Shape Your Mind To Die', 'L-O-V-E', eine fesselnde Gesangsversion von Gabor Szabos 'Gypsy Queen', das fesselnde 'Love Each Other', das klagende 'China Doll' und eine treibende Version von John Lee Hookers 'Boom-Boom-Boom'.
Gatefold 180 Gr.-Vinyl in klassischem Schwarz mit dem Flying Dutchman-Layout als Nachbildung!

Musicking is Old Time Relijun's tenth studio album.The record pounces fierce with the protest anthem "Break Through". Arrington De Dionyso's voice has gained some grit and even more gravitas. Like an overloaded speaker, he booms the words into the stratosphere. "Break through the wickedness, break through the lies, Break through the glass; don't stand in my way!" The band hits the groove and the vibe moves through the eleven songs swiftly - like Panther Juice and Rum. It does not stop, it does not let up, it does not let you sleep.Musicking is the latest example of the Old Time Relijun push and pull. They are the rarest breed of musical combo - - - insatiable, living raw, always on the margins, consistent as hell. You know what to expect, and yet haven't a clue what's coming next. Old Time Relijun conduct sweaty, compulsively danceable performances that never fail to inflame. Their songs are simple, but no one in the world could imitate them. Their albums are packed with sing-along hits mixed with sonic experiments and cosmic jests. The loose swagger belies years of practice, fastidious arrangements and a gut-level understanding of musical how and why.

Kids Return is first and foremost a great story of friendship since childhood between Adrien Rozé and Clément Savoye . It is between their small Parisian studio and a house suspended between the mountains of the Pyrenees that their pieces are born, then orchestrated by a string quartet in the countryside. From this trip was born a dreamlike and sensory music, a call to dream. Music that takes root out of time.

Forever Melodies is Kids Return's first album, it follows their first four singles, released between 2021 and today (Melody, Our Love, Orange Mountains, Forever). This album is ten skilfully refined pop tracks (“Some bands tell you 'We made 35 songs to keep 8', we made 10 songs to keep 10”) imbued with nostalgia, with an astonishing sincerity (breakups, stories of friendships, love, physical anguish, the transition to adulthood), a boundless love for dressing melodies. This album was orchestrated as a wonderful intimate journey, in space and time: the film of their lives.

The Cult has reveled in a storied career. From the pre-millennial iconic Love album bursting with idealism and the full on blast of 2001’s Beyond Good & Evil to the recent biting truth of Hidden City, the band has lived their art. How the future unfolds will be decided in part by current cultures response and the group’s response. One thing is for sure, The Cult will respond. It’s what they do. The Cult’s next endeavor Under The Midnight Sun is out October 7, 2022.

Bobby Weir & Wolf Bros—consisting of Bobby Weir, Don Was, Jay Lane and Jeff Chimenti—are set to release their second batch of live recorded material this year. Bobby Weir & Wolf Bros: Live In Colorado Vol 2 is out October 7 on Third Man Records, a follow-up to the first volume of the critically acclaimed live performance collection. Bobby Weir & Wolf Bros: Live In Colorado, Vol 2 features more songs recorded at the band’s live performances at the historic Red Rocks Park & Amphitheatre in Morrison, Colorado and the Gerald R. Ford Amphitheater in Vail, Colorado on June 8, 9, 11, 12, 2020, including classic Grateful Dead hits, "Ripple" and "Brokedown Palace" along with covers of Merle Haggard and Marvin Gaye. These shows were the group’s first live audience concerts in over a year and featured Greg Leisz on pedal steel, along with The Wolfpack: Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown. “Been too long,” Weir said of the performances, “but I can’t think of a better place to pick it back up…” Live in Colorado, Vol 1, received acclaim from LA Times, Forbes, USA Today, Billboard and more. In their review for Volume 1, Pitchfork Says, "Weir's rootsy trio offer a more intimate reimaging of his former group's historic counter cultural songbook." Weir explains “I’ve been workin’ in my spare time on expanding the sonic coloration of the songs I do. The Wolfpack is basically a step toward full orchestration - and further, I gotta say, these guys are game. We worked on the arrangements a bit but eventually we needed to trot it all out and play it for folks - and right at that moment, the folks in Colorado reached out and told us they were gonna open up. Holy Shit, WTF? Let’s Go.” Bobby Weir and Wolf Brothers will be performing four nights at the Kennedy Center in Washing DC this fall. 8/4 - Announce/Pre-order w/ IG: Ripple 9/2 - 2nd IG: Other One 10/07 - STREET DATE w/ focus track: Brokedown

LANGUISH is a band that has relied on speed to deliver their message in the most caustic and devastating way possible, but conversely they’ve taken their time to reach the point they’re now at; they stand on the precipice of releasing their third studio album, Feeding The Flames of Annihilation. World events forced a creative go-slow which granted them time to ‘hyperfocus’ on crafting a sonically pernicious 11-track ode to human beings accelerating their own demise. Despite the album being swathed in nihilism, the occasional glimmer of optimism pushes through in the form of class solidarity and hopeful resistance. But for the majority of the 25 minute runtime, malevolence and misanthropy reigns - articulated more clearly than ever before by vocalist, Sean Mears. Although grindcore continues to make up a good deal of the LANGUISH calling card, a considered leaning towards death metal allows room to enunciate their distaste with more clarity - both literally and metaphorically. The world-weariness felt by its authors is coloured with rage, disappointment and a cycle of hitting rock bottom over and over. Inspired by the socialist anthems of Woody Guthrie, LANGUISH takes swipes at landlords, megacorps, and billionaires - with few escaping their scathing sulfur.

Heavy horror punk icon WEDNESDAY 13 has climbed his way to the top of the horrendous heights of rock, punk and metal with his electrifying solo music and as frontman of renowned horror punk supergroup Murderdolls, amassing a colossal cult-following along the way. In 2022, the undisputed harbinger of metal horror returns, following up on 2019’s acclaimed Necrophaze (#2 US Heatseekers) with Horrifier – a brand new slathering of 10 terrifyingly grim and groovy anthems to get blood pumping and brains melting! Showcasing a blend of styles from the band’s 20-year career, Horrifier manages to weave an underlying sonic thread reminiscent of WEDNESDAY 13’s roots – a raucous blend of ballistic metal and macabre heavy rock that’ll have new and diehard fans alike ascending from the depths. As always, various tracks on the album are inspired by classic horror flicks, this time circling cult-favorite slasher John Carpenter’s Halloween and the iconic Christine supernatural thrillers.

For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound. “On this album, I’m free, and I can say things I was scared to say before. People deserve hope, and this record spreads a message,” Diaz says. The 11-song album will be released in English and Spanish—a unique feat for a rock release. SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur. The album’s unique melding of ultra-hooky choruses with ethereal ambience and passionate vocals and lyrics recalls such diverse artists as Paramore, Muse, and Olivia Rodrigo.

For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound. “On this album, I’m free, and I can say things I was scared to say before. People deserve hope, and this record spreads a message,” Diaz says. The 11-song album will be released in English and Spanish—a unique feat for a rock release. SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur. The album’s unique melding of ultra-hooky choruses with ethereal ambience and passionate vocals and lyrics recalls such diverse artists as Paramore, Muse, and Olivia Rodrigo.

Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem. Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album. The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.” On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work. ‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve. Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy-nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.

From documentary film production to winemaking, Landon Lloyd Miller has left his unique mark in multiple areas, juggling a lifelong passion for music — including a long run as frontman of his Shreveport-based western band, The Wall Chargers — with an ever-present desire to create and collaborate. He's a Renaissance man for the modern age, as adept with an acoustic guitar as he is with a movie camera. "Light Shines Through," Landon's debut solo album, finds him turning a new corner, trading The Wall Chargers larger-than-life stomp for something more insular, introspective, and dynamic. The Wall Chargers shared the stage with Of Montreal, Glen Hansard, Dylan LeBlanc, Shawn James, Abram Shook, Seratones, Kyle Craft, Daniel Romano, The Lonesome Heroes, Big Cedar Fever, and The Octopus Project as well as festivals including SXSW, Valley of the Vapors, Mayfest, Secret Stages, Louisiana Music Prize, Red River Revel and Demon Fest. Miller's songs have appeared in films including Mr. Marvelous, Clowns & Robbers, The Fosters, Cut To The Chase, and The Paranormals.

The world has been patiently waiting for the return
of one of indie rock’s most beloved and treasured
bands. Alvvays are pleased to be putting everyone
out of their misery by announcing their new album,
‘Blue Rev’, released via Transgressive.

The highly anticipated album is well worth the wait,
with 14 songs hitting all the right chords and
cementing their cult status. ‘Pharmacist,’ the first
track on the album, is an exciting jumping off point
for what is sure to be one of the albums of the
year.

LP pressed on turquoise vinyl.

Kinda Kinks ist das zweite Album der englischen Rockband the Kinks, das 1965 veröffentlicht wurde. Aufgenommen und veröffentlicht innerhalb von zwei Wochen nach der Rückkehr von einer Tournee in Asien. Das Album ist ein großer Schritt nach vorne in der Fähigkeiten von Ray Davies und der Band. Sie sicherten sich einen ersten Platz in den britischen Single-Charts mit "Tired of Waiting for You", das gesamte Album stieg auf #3. Ursprünglich veröffentlicht von Pye in Großbritannien am 5. März 1965 und jetzt von BMG auf schwerem
schwarzem Vinyl im Jahr 2022 wiederveröffentlicht.

Das Album enthält auch die Kult-Lieblingsstücke 'Look For Me Baby", "Come On Now", "Something Better Beginning" sowie sowie "Nothin' in This World Can Stop Me Worryin' 'Bout That Girl", mit dem sie in Sachen Ernsthaftigkeit ganz vorne in der der British Invasion in Bezug auf Ernsthaftigkeit und Komplexität, vor vor den Beatles oder fast allen anderen Mitbewerbern Konkurrenten Anfang 1965, aber das hinderte sie nicht dara zum bluesigen "Naggin' Woman" überzugehen.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

Alternative rockers Barenaked Ladies are best known for their hit singles, “One Week”, “The Old Apartment”, “Pinch Me”, “If I Had
$1000000”, “Brian Wilson” and the theme song for the sitcom The Big Bang Theory. Revered for their light-hearted, comedic performance style and humorous banter between songs, improvised raps/songs are staples at most concerts. They have won multiple Juno Awards and have been nominated for Grammy Awards. The group has sold over 15 million records including albums and singles.

Stunt (1998) is their fourth full-length studio album, and by far their most successful. It entered the US Charts at third place and sold over 4 million units by the end of its chart run. It is one of the best albums the Barenaked Ladies has released. Its first single, “One Week” became the band’s breakthrough single in the U.S. market by topping the charts, and also entered the top 10 in the UK.

Stunt is available as a limited edition of 3000 individually numbered copies on translucent yellow coloured vinyl and includes an insert.

For nearly twenty years, Dirty Heads have been mixing hip-hop, reggae and rock to create a unique sound that both fully embodies their Huntington Beach, California roots and resonates with audiences around the globe. Having gone viral on TikTok with their hit song, 'Vacation', which has over 6 billion streams and views on the platform, Dirty Heads has amassed over 3.5 million monthly listeners on Spotify. Their highly anticipated new album 'Midnight Control' features 11 new songs that include their take on Joe Walsh’s 1978 hit 'Life’s Been Good', 'Rescue Me' and 'Island Glow'. The band’s 8th studio album, it is sure to reaffirm their outstanding track record with all seven of their albums having appeared in the Top 10 of Billboard’s Top Independent Albums Charts & Billboard’s Top Alternative Albums Charts.

The third volume of our "Cumbia Beat" series includes again tracks by the some of the most important bands of the golden age of Peruvian cumbia: Los Diablos Rojos, Los Beta 5, Los Girasoles, Los Ecos, Los Demonios del Mantaro, Los Sander's de Ñaña…
Peruvian cumbia brings together tropical music styles from Colombia and Cuba, Western influences such as 60s beat and psychedelic rock, and mixes them with indigenous melodies from the Amazonian jungle and traditional Andean songs. The result is a unique and vibrant style of music which reverberates with life.

Here at last is the reissue of the most sought-after track by French New Beat band French Theory. Originally released in 2008, this tribute to Boccacio (the revered temple of New Beat and EBM, located in Belgium) struck at the heart of the movement’s soul. It quickly gained cult status for its gloomy atmosphere, heavy industrial beats and catchy melodies that propelled the classic New Beat sound into the 21st century.

Out of print since then, it’s back in a limited edition, with the added energy of a powerful remaster by cult techno and acid master Thomas P. Heckmann (Trope, Drax, etc.), plus a brand new diversion exclusive to this vinyl on the flip. Get ready to wave the white glove again, and get lost in the music!

French theory is the New Beat alias of Guillaume U. Chifflot, one of the few French techno veterans in the New Beat & Techno-house genre, who started releasing tracks in the early 90s on his own multimedia label n9. Relaunched in the mid-2000s, the label releases techno and electronica, while pioneering an upgrade of New Beat in the wake of the Techno Body Music movement.

Mit 11 Tracks aus ihrem Debüt-Album “The Overload“ bringen die Anchor Award Gewinner YARD ACT
ihren mit Zynismus gespickten, unnachahmlichen Humor und ihr musikalisches Geschick vollends zum Ausdruck.
Angeführt von James Smith (Gesang) und Ryan Needham (Bass) hat die mittlerweile vierköpfige britische
Post-Punk-Groove-Band, die durch Sam Shjipstone (Gitarre) und Jay Russell (Schlagzeug) komplettiert
wird, einen Sound entwickelt, der unweigerlich auf ihren Geburtsort Leeds, West Yorkshire verweist und
doch Beobachtungen aus allen Bereichen des modernen britischen Lebens miteinander verbindet. Durchdrungen ist ihre Musik von scharfem, satirischem Spoken-Word-Humor.

Repress in soon. For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. PeteStrumentals 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion.

Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia are set to release their debut album 'Ever-changing Light' on the 7th October via the groove-obsessed Belgian tastemaker label, Sdban Ultra.

Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's 'Head Hunters' and Miles' acid funk of the mid-70s for inspiration.

'Ever-changing Light' is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk and groove. From the loose, laidback stylings of 'Mumpsimus' and the jazz-funk odyssey that is 'Pigeons' to the sonic wonders of 'Reminiscence' and urgent flow of 'Quanked', Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of 'Oneironauts' and improv 'Pukti part 1' showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus 'Voor Pieter A.' is a magical example of the virtuosity of Lucid Lucia.

Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album 'Days of Thunder, Days of Grace' in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album 'Engines' and with hip-hop MC, writer and producer Amir Sulaiman on the 2016 album 'First Let's Dance'. The 2017 album 'Waiho', the band's first instumental album and final album received glowing praise from numerous tastemakers including UNCUT magazine, The Line of Best Fit, XLR8R and Record Collector magazine.

To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: saxophones and EWI, Bart Borremans: saxophones, Stijn Cools: drums, Dries Laheye: bass, Dries Verhulst: guitar, Jan Willems: keys and James Williams: drums and percussion, they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen and many others.