Suche:el sam

*Repress*

Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” Paralysis /A.C.C.. Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018.

The double A-side Paralysis /A.C.C. 7” was self-released on Regular Records in 1978, around the same time as Leer’s Private Plane/International 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a TEAC A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, Paralysis /A.C.C. points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled”, a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity.

The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.

Magical is a fusion of a dozen genres, where every song opens up like a Russian doll, splitting into real songs within the song.
Hundreds of details are part of the different sonic worlds in which each song progresses.
Magical is no doubt hard to decipher for very good musicians, but it's easy to dance to for very normal people.
Since the orchestral introduction of the first song your senses will be automatically taken on a journey between irony and sadness, emotional intensity and vibing, extreme nerding and introspection. Magical is a dream that, through sound illusion, makes you meditate on the meaning of life, death and love, three fundamental topics in the album lyrics.
The album is a leap into a future where no tradition is missing.
Just a perfect way to discover the surprising world of Ze in the Clouds.

Ze in the Clouds is a cutting edge multi-instrumentalist and producer.
He created his own compositional style as the result of his jazz origins and his continuous studying and evolution. He shares his thousand faces without any stylistic boundaries with people and musicians who have the same vision.
Born in the Po Valley of Northern-Italy at the end of the last millennium, from a very young age Ze attracted the attention of promoters and artistic directors of the new avant-garde scene linked to jazz and electronic music. JazzMi and Jazz:Re:Found, the two most influential Italian festivals to focus on this kind of artistic proposal, immediately understood the potential of his amazing talent, showcasing him in their lineup. Jazz:Re:Found, captivated by his unique and inimitable style, decided also to reward his genius by inaugurating the catalog of the new record label project "Time is The Enemy" with his debut album.

At first glance, Sarah Louise might seem an unlikely candidate
to credit technology as inspiration for her new album, Earth Bow.
After all, she has lived in rural Appalachia for the last decade,
foraging numerous species of wild mushroom, concocting
medicine from plants she gathers, and performing what she
terms “Earth Practices” to deepen her relationship with the
natural world. But it is precisely her ability to find connections
between false binaries that makes this album so novel and richly
immersive.
Louise conceived Earth Bow as an interconnected ecosystem,
meant to evolve, interact and grow. Known for her inventive
guitar playing, vocal harmonies and electronic experiments,
it was her use of the SP-404SX sampler that became a primary
inspiration for the album’s woven nature. “Improvising with the
404 during live shows allows me to collaborate with the music
as a living system, almost the way generative music works,” she
says. “I kept finding more and more samples that worked together
and realized I wanted to connect the entire record—and
that there were many ways it could be connected.”
Through this process, what began as eight core songs
blossomed into two sweeping suites. Samples—denizens of
her electronic forest—move around the record with changing
context like words in a sestina or phrases in the I Ching,
revealing new connections with each listen. Mesmeric sounds
abound on Earth Bow, from analog synth tones, to digitally
manipulated sonics that she stretches and layers with a painterly
touch. These electronic sounds inhabit the same environment as
field recordings, ceremonial percussion, guitars and empathic
vocals, weaving together her vast and borderless influences into
an enveloping world. “I want this record to take people on a
journey through the wonders of our incredible planet, to help
people feel held by the mysteries of nature,” she enthuses. “I
believe music can heal.” After a string of celebrated releases on
Thrill Jockey, Sarah Louise is self-releasing Earth Bow on her
new imprint of the same name.

Pixey grew up in the sleepy but picturesque village Parbold, Lancashire before moving to Liverpool for school and remaining there to this day. Now signed to Chess Club - a label famed for breaking new talent, where recent exciting signings include AlfieTempleman and Phoebe Green, and past successes include Jungle, Wolf Alice and Easy Life - Pixey is making more waves than ever before. ‘Just Move’ drew attention from BBC Radio 1 DJs Jack Saunders (who made Pixey one of his Next Wave artists) and Huw Stephens amongst many other admirers like Radio X’s John Kennedy who added the band to the X-Posure playlist at the station in October. Pixey has also featured as the cover artist of Spotify’s Indie Brandneu (GER) and Peach editorial playlists, and wasamongst the artists named in major annual tips lists, the Dork HYPE List and the NME 100.



New single ‘Electric Dream’ - with its accompanying video by Thomas Davies - combines cavernous drum machines and dreamy pop melodies with a signature dance stomp. Speaking about new single, Pixey explains: “‘Electric Dream’ was originally written as a piano ballad but after finishing the lyrics I felt the song worked as a dance track. I wrote it to make sense ofbeing locked in with nothing to rely on but technology. The verses are all of my anxieties that come with that - like trying to simulate humanity digitally and what kind of a future that would be - but the choruses are about the imperfections of real life that technology and AI can’t give us.”



Debut EP Free To Live In Colour was written, recorded and produced in Pixey’s bedroom in Liverpool - with additional production added by frequent Gorillaz and Jamie T collaborator James Dring - and draws inspiration from genres like hardcore breakbeat and





dream pop. Pixey says: “I wanted a collection of tracks which gave a quick snapshot into me and my brain - where I’m from, where I want to be and what I’m thinking about. I hope people can take something meaningful from it or simply have a dance.”



Pixey first discovered music as a toddler - she remembers not even being able to walk yet but desperate to sing and dance to Queen - before discovering the likes of Kate Bush, Björk, and George Harrison, whose classic songwriting struck a chord with her in her youth. The catalyst for Pixey’s musical coming of age however, was a near fatal viral illness suffered in early 2016 which hospitalised her, she says: “When I thought I was going to die I thought of all the things I wish I’d done and music was the first thing I thought of. As soon as I started recovering I started learning to record and produce.” She taught herself Ableton production software before mastering guitar and eventually drums and bass after her previous (and current) boyfriend(s) left their instruments lying around to prove she could learn it quicker and play it better.



Once able to carve out her own sound, Pixey turned to The Verve, The Prodigy and De La Soul for sonic inspiration, adding: “I particularly like the idea of using samples/making my own riffs sound like samples which was heavily inspired by the De La Soul album 3 Feet High and Rising. Starting out initially though Grimes was a huge catalyst when I realized she wrote, recorded &produced herself.” Her prolific and unusual songwriting style stems from an original riff or beat, with further layers added as she records and produces, and lyrics being added last - the process taking only a day or two.



With Free To Live In Colour and a whole arsenal of further material being readied on her new label home, Chess Club, Pixey is primed for big things in 2021 and beyond.

“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley.

The alto saxophonist was a member of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breath-taking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic.

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Heavy Psych trio from Portugal based in North London. Mainly influenced by 60's psychedelia and 70s Prog with hints of modern Stoner and Space Rock. They deploy their magic fog into the room to take the entire audience on a journey from the edge of a rugged desert to the outer edges of distant galaxies. The acid-doused amps of Madmess vent serpentine psych and bleed the deepest shades of violet from the electric heart of Rock & Roll. Madmess are Luis Moura (Drums), Vasco Vasconcelos (Bass) and Sam Paio (Guitar) Resident Records: "Heavy stoner riffage smashing against crashing drums is always a winner, in our book, & this one happens to be an especially yummy chunk of squealing fuzz" More Fuzz “ This Portuguese trio’s Psychedelic/Space rock conjures images in my mind of the power of a rocket launch, followed by the serenity of orbit before smashing back through the atmosphere and returning to Earth.”

Minimal Wave presents ‘Recordings 1980-1982’ (MW077), a triple 7” box set by pioneering south Florida synth-punk band Futurisk, in honor of their 40th anniversary. Founded by Jeremy Kolosine in 1978, Futurisk recorded many songs and performed live throughout the early 1980s. Though they had released two 7”s that sold out, had a legendary live show, and even some videos, by 1984 Futurisk was history. Eventually, the main core of Futurisk would be the Jeremy Kolosine, Richard Hess, and Jack Howard line-up though much happened leading up to this point.

In 1979, the teenage Jeremy Kolosine won studio time and money in a competition with his drum-machine-triggered guitar-synth act called ‘Clark Humphrey & Futurisk’. He decided to form a band around the name to record a more punk release titled The Sound of Futurism 1980 / Army Now. It was an ambivalent anti-war anthem with Jack Howard on drums, Frank Lardino on synth, and Kolosine on vocals and guitar synth. Many live shows ensued with the line-up which included Jeff Marcus on bass and Vinnie Scrimenti on drums but in 1981 a rift between the band caused them to part ways. They continued for a bit as ‘Radio Berlin’ (no relation to the Vancouver act) and Kolosine, who had gotten absorbed in a new analog synthesizer with sequencer continued as Futurisk.

He recruited synthesist and recording engineer Richard Hess who had a myriad collection of Moogs, Oberhieims, and CATs. Jack Howard returned on drums and syn-drums and the lineup for the Player Piano EP was cast. The EP, like the live show, was a strange blend of punk, minimalist, and disco-influenced electro-pop, with drum machine triggered synths and often frantic real drums all led by Kolosine’s schizophrenic Bowie / Ferry / Foxx adulations. It was recorded by Richard Hess and the band in the rooms of a friend’s house. The drum sound, recorded in a bathroom, rocks, even today. Reportedly, Futurisk may have been the first synth-punk band in the American South, and their 1981 track ‘Push Me Pull You (Pt. 2)’ was an early pre- ‘Rockit’ excursion into electro-funk.

The ‘Recordings 1980-1982’ box set includes three 7”s, an Army Now (1982) Flexi 5” x 7” postcard, and a 16-page full-color booklet featuring unpublished photographs of the band, the history of the band, and an interview with founder Jeremy Kolosine. The three 7”s are The Sound of Futurism 1980 / Army Now which includes an unreleased track from the same session, the Player Piano five-song 7” EP from 1982, and the Ocean Sound 7”, which has not been released in this format until now. All three 7”s are remastered, pressed on heavyweight 70-gram vinyl, and housed in heavy color printed matte sleeves featuring the band’s original artwork. The box is case wrapped and depicts an early illustration of the band printed in black on white with a spot gloss. Limited edition of 600 copies.

The 'Abroad EP' catalogues a period of time spent travelling Japan in the spring of 2019. Throughout the course of the month-long trip, Rudy carried around a portable recorder, capturing various sounds that caught his ear. That collection of found sounds would eventually become the foundation for the EP, each track utilizing a handful of different recordings ranging from bird calls in Tokyo's Yoyogi Park, to windchimes in the coastal town of Kawazu. The EP took a full year of patient, daily work to complete, during which time Rudy invited a diverse group of collaborators in to help finish the songs. Throughout the recording process, harp, saxophone, and violin parts were added to create a unique blend of organic and electronic sounds.

POSY is the recording name of Rudy Klobas, Portland-based producer and multi-instrumentalist with a unique sound that intersects jazz, R&B, and electronic music. Originally trained on classical guitar, POSY gradually taught himself piano, bass, and drums and began writing and recording his first songs on a four-track cassette recorder. POSY's music is lush and densely layered, but maintains an element of simplicity that ultimately leaves one feeling relaxed, nostalgic, and hopeful all at the same time.

Pera Sta Ori is the pseudonym of greek sound artist and producer, George Kontogiannidis. Professing a futuristic style, his music blends senses from DnB, IDM and bleep. Bursting into the general consciousness back in 2017, time has only seen this promising artist grow with releases on brokntoys, Furthur Electronix and Yellow Machines. He now readies his next EP with us at MUSAR, titled 'IMMI'.
Short for 'Immigrant', 'IMMI' EP is dedicated to uprooted people. Within, Pera Sta Ori explores an imaginary world in which misery is erased from memory. Projecting into vast expanses, each track forms an echo chamber. From the urgent and frenetic vocals of 'SCATTER 0^', layered with crunching percussion and swarming bass, to the ambience of 'Bouncing/Lassitude' and downtempo quirks of 'CIN1', Pera Sta Ori provides a variance of headscapes to slip into.
Chilean celestial spark Kamila Govorcin creates her own world on the remix of 'CIN1'. Jagged percussion ripple and ricochet with near-industrial inflections. Peppered with openings of etherealism, the samples of the original glide whilst Govorcin keeps things driving with four-to-thefloor punches.

Negativland’s mirror image sequel to last year’s True False, The World Will Decide turns the focus away from the very human inability to accurately define reality, and towards the technologies being built to do a better job at it. But if sorting true from false seemed like a full time job back when all one had to keep track of was one’s own mind, life alongside the machines built to connect everyone only seems to multiply the uncertainties. On The World Will Decide, those uncertainties are made almost deliriously danceable: a netweb of densely sampled voices melting speech back down into music and back again, into what everyone can agree are the real questions—did that firefly really land on your finger? Would you like to be arrested? Does this app connect you to people, or replace them? Is this post an example of inauthentic behavior? Do people have to die? Or, as one of the many sampled voices on this work assures the listener: we can really feel like we’re here.

Just in time for the holidays comes a brand new Christmas classic from Academy Award-winning composer Michael Giacchino (Up, Ratatouille & Lost) and if the world ever needed a shot of positivity right now then this is it!

The idea of writing a Christmas single happened whilst hosting a Christmas party with Richard Kind at the Royal Albert Hall in 2019. During that party, they heard a radio announcement regarding a Christmas song competition, and they immediately began trying to

write a song and find someone to sing it! Throughout the party, guests turned up, but no one wanted to sing the song, that is until Himesh Patel and UK band Itchy Teeth knocked on the door and took up the challenge. Himesh was fresh from starring in Danny Boyle’s film Yesterday, and Itchy Teeth were the band that performed with him throughout the movie.

Recalling classic Christmas earworms such as Wings ‘Wonderful Christmastime,” the single is written by Michael Giacchino, Elyssa Samsel and Kate Anderson and performed by Itchy Teeth. The B-side is a beautiful smokey lounge version of Christmas Number One performed by the John Robert Wood Yule Sextet.

The LTD 7’ comes complete with a digital download card and is presented in gatefold Christmas card cover, ready and waiting to be given as a gift and inscribed with your very own holiday greeting.

Let us see 2020 out in a flurry of positivity, optimism and fun, so get ready to be singing this song around the christmas tree this year with all your family (even if that mean doing so on Zoom)

Happy Holidays!!!

REPRESS!!

These tracks were recorded by Kevin Low and Fiona Carlin in Kevin’s bedroom in Gayfield Square, Edinburgh, in 1986. Me and my dad, Kevin, dug out a huge bunch of his tapes over the lockdown (about 80 of the them at first). Some were…better than others, however, the Gayfield Square demos were the pick of the lot. Previously Kevin and Fiona were part of the Post Punk / indie band ‘Wild Indians’, whose first release “Stolen Courage” had come out in 1983 – released on Flexi Disc via the Edinburgh fanzine Deadbeat. Throughout the mid-1980s they performed across Edinburgh’s clubs, including at the Hoochie Coochie Club (name checked on track 7), where they played alongside bands and close friends Pop Wallpaper and Visitors. The band went on to release two 12” singles, “Love of My Life” in 1984 and “Penniless” in 1986.

After the band broke up Kevin sold his guitar amp and 7inch collection, Fiona her saxophone and they went out and got themselves a Yamaha RX-5 drum machine, Yamaha QX7 sequencer and a Yamaha DX-100. These bedroom tracks are the fruits of their first venture with this hardware, combining their experimentation with synthetic sounds (mostly the DX-100’s famous pre-sets) with a post-punk vocal style.

These eight tracks are also, in part, the fruit of the “Enterprise Allowance scheme” - a policy venture of Margaret Thatcher’s UK government that gave unemployment claimants access to an extra £40 to top up the basic dole money. Following Thatcher’s election victories in 1979 and 1983, the policy sought to reduce the figures of mass unemployment which hung over Britain well into the 1980s. This policy, according to Kevin, helped to keep up the credit payments. He notes that, “when Fiona and I turned up at the DHSS office with the sure-fire money-making plan of making a business as a ‘song-writing’ duo they signed us up. However, I still think they thought we said, sign writing as they were filling out the form.”

Kevin and Fiona stopped making music together shortly after these tracks were recorded so unfortunately, they never saw the light of day…until now!

Fiona went on to work in Film and Television sound. Kevin became a photographer, working mostly in theatre. He is now an artist/painter working in Glasgow.

"Flowers Bloom, Butterflies Come" is the result of a dialog between the stunning Japanese photographer and artist Miho Kajioka and the wonderful UK musicians and composers Ian Hawgood and Craig Tattersall (The Humble Bee), initiated by IIKKI, between August 2019 and January 2021.

Born in the United Kingdom, Ian Hawgood spent most of his adult life living in Japan, Italy and Poland. Currently he calls Peacehaven (on the south coast, near Brighton) his home. Since 2009, he’s well-known with his work as the curator of the Home Normal label. He makes music using an array of reel-to-reel and tape machines in his studio by the sea, where he also master works for many labels and artists alike. You could often catch him on the coast with his faithful Nagra recorder, hydrophone and field microphones. These days his focus of music is on decayed ambient works using old synths and reels mostly, alongside his childhood piano. (site)

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 12 albums on his moniker The Humble Bee.

Miho Kajioka (b. 1973, Japan, lives in Kyoto) is an artist and a photographer since 2011. Kajioka’s work has been exhibited in Spain, Italy, France, the Netherlands, the USA, Germany, Belgium, Portugal and the United Kingdom. Kajioka’s latest book ‘so it goes’ won Prix Nadar in October 2019. "Kajioka's artistic practice is in principal snapshot based; she carries her camera everywhere and intuitively takes photos of whatever she finds interesting. These collected images serve as the basic material for her work in the darkroom where she creates her poetic and suggestive image-objects through elaborate, alternative printing methods. Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision. Her images evoke a sense of mystery in her constant search for beauty. The focused, creative and respectful way in which she uses the medium of photography to creating her works seems to fit in the tradition of Japanese art that is characterized by the specifically Japanese sense of beauty, wabi sabi. (…) According to her, photography captures moments and freezes them; printing impressions is like playing with the sense of time and getting lost in its timeline." (Ibasho Gallery)

Scottish producer Gavin Sutherland revives his Other Lands alias with a collection of tracks that were crafted between 1997 and 2012, and were transferred straight from the original cassette.

"What Year Is It? Who Is The President?", is Sutherlands' first full offering with PULP. After multiple remixes for the label (under his Fudge Fingas alias), the release schedule for the Other Lands guise has picked up in the last few months. This resurgence of previously unreleased material will add to Sutherland's elaborate catalog, and confirm that even bits that never saw a release at the time, are sounding relevant and superbly produced.

"What Year Is It? Who Is The President?" (PULP13) starts with "The Caged Bird", which is a synth laden, lush sounding cut that is built around a playful bass sound and beautifully orchestrated chords. The drums are swinging as ever, and the hypnotic character of the lead is present throughout.

"Kaleidoscope" is a venture into the otherworldly. Deep splashes of synth and fx come together effortlessly to create an almost meditative state. The musicality of it all is remarkable, and hard to capture in a few words. The rhythm section is always the backbone, but the fx are equally as important. Fans of Sutherland's work will surely recognize and appreciate the ambiance that is set in Kaleidoscope.

The flipside starts with "It's Something Else". The main lead is indeed something refreshing. In a sense, it's reminiscent of a guitar, but it's clearly not that. The dance floor nature of everything else is supporting the wildness of the lead. Altogether this is something to space out to. On a dance floor, at home or perhaps even during a run.

The final track on the B-side is called "Mind Like A Steel Trap". This sample heavy, hazy sounding piece of beauty is blending soulful flutes, drums and the catchphrase of the song - no more mind games - together with an astonishing ease

On October 12, 1929, Kathryn Culp and Sammie Lee Brown had the idea to name their first-born baby Napoleon. With such a vital beginning, little Nappy was already predestined to hit the mark, so from a very young age he stood out for his vocal qualities, well cultivated in gospel, which he practiced assiduously in The First Mount Zion Baptist Church run by his father.

To Mr. Brown's chagrin, after his first forays into religious music participating in vocal gospel groups such as The Golden Crowns, Golden Bell Quintet and The Heavenly Lights, with whom he recorded his first single for Savoy in 1954, the young Napoleon decided to try his hand at secular music, convinced by Herman Lubinsky, the big boss man of the New Jersey label.

In this way, between 1954 and 1962, Napoleon recorded a total of 28 singles at Savoy, clearly marking the transition from Rhythm & Blues to Rock’n’Roll, and also his subsequent jump to Soul, being the natural link between the late 40s southerners like Wynonie Harris or Big Joe Turner and artists like Jackie Wilson or James Brown, who cemented the black sounds of the 60s.

This LP includes a compilation of some of his best songs at Savoy, high class rock'n'roll, with a lot of dancefloor favourites like DON'T BE ANGRY, compiled in its two versions, or JUST A LITTLE LOVIN ', but also his more Bluesy sides, with songs like the fabulous DOWN IN THE ALLEY, which would be recorded years later by that certain singer born in Tupelo, Mississippi, that many times declared how much he dug Nappy Brown’s Rhythm & Blues.

In the same bluesy way Nappy wrote the iconic THE RIGHT TIME, one of the first stones of the Soul cathedral, originally recorded by Nappy on 1957, and revised one year before by Ray Charles. Ray’s version, renamed Night Time Is The Right Time, would be included as the main theme of the award-winning film IN THE HEAT OF THE NIGHT. We´ve also included Nappy’s own answer to this song, recorded in 1961 and titled as ANY TIME IS THE RIGHT TIME.

Finally can´t avoid to name some of the backing musicians you´ll hear in these tracks, Sam ‘The Man’ Taylor, Mickey Baker, Panama Francis… have a look on notes bellow, oh boy! the A-Team of the mid-century New York Rhythm & Blues!

Nappy disappeared from the music scene in 1962, remaining anonymous until 1969, when he would return to Rhythm & Blues on Elephant Records with an LP whose title could not be more eloquent: THANK YOU FOR NOTHING.

Since then, Nappy was very active until his death in 2008, alternating his love for gospel and Rhythm & Blues, touring the United States and Europe and releasing no less than a dozen LPs.

Tenor saxophonist Barney Wilen was not quite 21 years old at the time of this meeting with Milt Jackson, Percy Heath, and Kenny Clarke, three veterans of the Modern Jazz Quartet. But the young man is surprising mature and confident throughout the session, interpreting several of Django Reinhardt's compositions, along with a few by his French contemporaries and a pair of his own works. What's surprising about this session is the rare opportunity to hear Jackson exclusively as a pianist, as his playing is a bit more reserved than on vibes. The leader digs into his rhythm section's element with his original "B.B.B. (Bag's Barney Blues)", giving them a full chorus before making a convincing statement himself. The quartet's fluid arrangement of Thelonious Monk's "Epistrophy" swings. Percussionist Gana M'Bow is added for both "Swing 39" and "Minor Swing" to add an exotic touch. Barney Wilen easily holds his own on his first major meeting on a record date with major American jazz stars.

Miles Davis recruited Wilen for his European tour dates at this time (1957), a measure of Davis’s estimation of the young Barney.

HIGHLIGHTS 180g vinyl reissue of the mega rare Mexican-only Luiz Eça album from 1970 in facsimile artwork and remastered sound. The Brazilian pianist and founder member of Tamba Trio is accompanied here by a large group of top-notch Brazilian musicians including Joyce, Nana Vasdoncelos, Wilson Simonal and Claudio Roditi delivering an outstanding mix of energetic arrangements and delicate vocal harmonies. A samba jazz masterpiece. Exclusive RSD 2020 release. DESCRIPTION Tamba Trio (Helcio Milito, Bebeto Castilho and Luiz Eça) released their first LP in 1962 and quickly became one of the most popular bossa jazz combos out of Brazil. By the mid 60s the band would expand becoming Tamba 4 and Luiz Eça would record his first albums as a leader. Trained as a classical pianist, Eça's style was a mix of jazz and pop then blended into bossa resulting in a fresh and unique sound that evolved over the years towards an even more eclectic blend. "La Nueva Onda del Brasil" was recorded in 1970 by Luiz Eça accompanied here by " La Familia Sagrada", a large group of top-notch Brazilian musicians including Joyce, Nana Vasdoncelos, Zeca do Trombone, Mauricio Maestro, Claudio Roditi_ even Wilson Simonal joins the group on Jorge Ben's 'Pais Tropical'. The album was released years later on the tiny Mexican label RVV, run by Rogelio Villareal, also home to the very rare LPs by Primo Quinteto or Rozana in a similar vein. Villareal was the owner of the Camino Real hotels group and the RVV records were exclusively available for sale at the hotels premises, as souvenirs for visitors. The band spent some periods of time touring Mexico, performing at different Camino Real locations. The album distribution was very limited and never got a local release in their native Brazil (or anywhere else) making this LP a very sought-after record that has reached cult status among Brazilian music collectors Worldwide. "La Nueva Onda del Brasil" includes both standards and originals, all performed in a very free style, an outstanding mix of energetic arrangements and delicate vocal harmonies, a sort of very late and evolved bossa mixed with jazz, emphasizing the rhythmic elements with an afrosamba twist. A samba jazz masterpiece.

Out last year via SCI+TEC, Nagaya's 'Dream Interpretation' was an immersive masterclass inritualistic simplicity. Floating in a cloud of billowing ambiance, it's nine tracks inviting thelistener to traverse a broad spectrum of spirit. Now, almost exactly a year later, the Tokyo master returns, this time drafting in an impressivearray of names to reinterpret the very same tracks. First up SCI+TEC head honcho Dubfiredelivers a wonderfully atmospheric and glitchy rework of 'Thanatos,' before EVS (the designerand owner of LA jewelry brand Parts of Four,) brings things down a level with a dark andhypnotic version of 'Mother Wading In The River.' Elsewhere German producer VRIL presents adistorted techno remix of 'Heathen,' the prolific Steve Rachmad puts his own unique spin on onthe same track, and Argentinian master Flug showcases his magic with two sublime offerings.

A chirp, a wine and a gurgle are the sounds that make the song of swallow. You won't find any of them on here though. The third installment of this sampler series features well-rounded dance and prance material instead. Four artists, four hits. Berlin duo Cyrk pay tribute to their favorite Sunday parties with Italo Blade. Barely hidden by its name, it cuts right through any heart of stone with aural infatuation and elation. Portraying the best moment in someone's life after a gig at the infamous Papaya Playa Project, Smallville records associate Snad, delivers a skippy and irresistible MPC jam that makes one want to whistle along. The baroque effect and element of Voon's music is a given. The Italian duo made that clear with Rose in Japan and is able to repeat the trick with Brando. Like Rondo Veneziano at a rave, it's larger than life and happily jumping over the inhibition gate of restraint. Finally, Lukas Lehmann takes the boiling pot off the stove. Juno Cuts A Caper is an ode to synthesizer number six of the renowned Roland series and a masterclass in simmering down. All in all: fun, fun, fun.-

Zaumne's new album titled Élévation is a multifaceted yet subtle work, an abstract collage that is equally entrancing and immersive. Quoting passages from Baudelaire’s “Flowers of Evil”, the Polish musician promises to elevate the soul and consciousness “Beyond the sun / Beyond the ether”. Yet simultaneously, the artist wants us to stay where we are and focus on the immediate surroundings in search of our personal attachment to the world.

Initially recorded for the WET (Weird Erotic Tension) online community the four pieces are an exploration of erotic aspects of the environment and uncanny intimacy with other beings and objects that dwell in our nearest proximity. Just like on previous releases for labels like Czaszka Rec. or Perfect Aesthetics, on Élévation Zaumne maintains his interest in emotional aspects of sound and internet culture – he builds his compositions from fragments of ASMR-whispered poetry, samples of natural phenomena and field recordings from his family home and its environ.

What starts as an escapist exercise driven by uneasiness and ennui becomes an individual healing process, in which the subject rediscovers the strangely intimate relationship with the world and opens up to almost magical methods of communicating with other beings. ASMR samples and sounds of the artist touching, playing with and exciting different objects are an experiment in establishing contact with the non-human realm and a method of attuning the body and the mind to the reality in which everything is interconnected.

Zaumne tests Einstein’s “spooky action at a distance” through radical, sensual intimacy with what’s near, finding a glimpse of the absolute in his own room, again quoting Baudelaire: “To a child who is fond of maps and engravings / The universe is the size of his immense hunger”.

Zaumne is the moniker of Polish musician Mateusz Olszewski. In the past few years, he has released music on labels like Magia, Perfect Aesthetics, BAS or Czaszka Rec. Élévation, released by Mondoj and initially commissioned by WET, is his first vinyl release. Blending elements of genres like ambient, dub, minimalism and tape music with ASMR samples, field recordings and spoken word, he creates work with deep emotional focus and impact.