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JAPENESE IMPORT! :)

The poetry of the human voice encounters the magic of contemporary electronic musical technology. Heart, mind and spirit, conveyed by the word, are augmented and altered, enhanced and embraced, by electronic sound. Air from Air is a collaboration between Japanese vocalist/producer Dove and American electronic duo Georgia. This singular partnership is a collection of audio poems in which words breathed by Dove are modified and expanded, cradled and celebrated, syllable by syllable and phrase by phrase. Georgia thoughtfully highlight Dove’s voice, transforming breath and air through the ether of circuitry, dismantling meaning, yet paradoxically revealing new meaning, both verbal and musical. Part of the magic here is that Japanese-speaking listeners will find clouds and constellations of meaning in these atmospheres, while those who do not understand Dove’s native language will nevertheless find pure pleasure in these same atmospheres. While some listeners may perceive it as a brand new extension of the attempts of contemporary music pioneers to explore the possibilities of human
voice sound in sound art and electronic music, Air from Air will be rather a foray into the unexplored territory of new music, yet difficult to be named, extended into modern bass music and other fields.

Disc is made of environmentally friendly new material BioVinyl. Cover art by Sakura Kondo.

Purple Color Vinyl

We are really proud to introduce a new release on Mawimbi Records: "Mawimbi, Vol. 2”. Its title is a nod to “Mawimbi, Vol. 1”, which was the inaugural release of our record label back in 2015. A new compilation, at last, after a decade of music activism and a handful of EPs and albums which have helped unearth some of today’s talents from the new global music scene (Onipa, Loya, Afriquoi, Raz & Afla). It stays true to the driving principles of our artistic direction: support upcoming artists, e ncourage the breaking down of musical frontiers, help make happen new encounters between electronic music and so-called “afro” music. While these encounters can now be witnessed anywhere in pop music’s current zeitgeist, from Beyoncé to South African’s vibrant amapiano scene, we think there’s still plenty to explore.

“Mawimbi, Vol. 2” truly feels like the culmination of a long path for our record label. Because it includes artists who have been actively contributing to the Mawimbi adventure over the years, and also because it’s another convincing testimony of the fruitfulness of this musical intuition we have so heartily been defending for the last decade. Indeed, the 8 tracks of “Mawimbi, Vol. 2” resist all the usual labels. They sound like they stem more from human encounters and artistic dialogues launched in the moment than attempts to be associated with any music scene in particular. Each of the 8 pieces of this compilation presents in a unique way the search for this cross-pollinating sound.

The compilation opens with a really engaging rework of James Stewart’s classic track “Cotonou” by Lyon-based tropical music enthusiasts Voilaaa, who took Peter Solo’s voodoo soul lines on a trip across the Black Atlantic beginning with a horn-heavy cuban cha-cha-cha before falling into a savory triple time dance. As tireless sonic adventurers, Amsterdam-based duo Umoja have brought back a handful of hits from their numerous trips to Kenya meeting with local benga musicians. “Avana Va” is one of their compelling tunes, featuring Kenyan musician and producer Sidney Simila. This urge to collaborate with musicians from across the African continent is also to be found in Village Cuts’ ever expanding discography. On “Sentima”, they showcase their trademark London funky sound, introducing us to the talents of Congolese guitarist and singer Kissangwa.

Afriquoi’s 2020 hit “Ndeko Solo” is presented in a brand new shape, sprinkled with some French Touch flavours. “Djansa”, by Toulouse-based producers Mr. Boom, rides a distinct South African-inspired groove, while inviting us to a nighttime dance by the Balearic sea. On “Silent Runner”, French producer and musician Ozferti moulds his own musical galaxy where East African scales meet cutting edge global club beats. With “Nabi Kumi”, Anglo-Ghanaian duo Raz & Afla delivers their deepest piece, once again inducing a state of trance with a triple-time beat and an hypnotic kora loop. Closing the compilation, “It's Holy” is a unique collaboration between Tom Excell (Onipa, Nubiyan Twist, David Walters) and Dizraeli, one of the most interesting voices in British rap, which by making connections between broken beat, jazz and african music, illustrates the precious mixture of musical aesthetics that make up the current UK musical landscape.

Fifth volume of "The Encyclopedia of Civilizations", Abstrakce's collection of split LPs where selected artists offer their own insight into fascinating ancient cultures. This time the focus is on the enigmatic Babylon, visited by two of the label's favourite electronic bands currently active.

Berlin-based duo Driftmachine take us on a journey between the ancient cities of Akkad, Uruk and Ashur. Astonishing electronics with a superb and precise sound, floating somewhere between modular ambient, leftfield, abstract dub... Every detail has been carefully crafted in this complex architecture. Unconventional tribal rhythms recall obscure rituals, meanwhile warm, dynamic pulses contract and expand, interacting on their journey along the sandy roads of the Mesopotamian basin and leading you into a deep trance.

Glasgow-based project Komodo Kolektif delves into the Babylonian vision of magic through the figures of the Kassaptu (witches and wizards) and the use of Mandragora. A blend of both tribal primitivism and a futuristic vision is provided by their vast arsenal of vintage synths and effects units, eastern metallophones and traditional hand percussion. Deep, psychedelic electronics that capture the spirit of ancient Babylonian sacred ceremonies and their vision of the cosmos.

This deluxe edition includes an extensive booklet with notes and images about Babylon, to help you to immerse yourself in this fascinating civilization while you listen to the music. The sleeve is printed in the old way: letterpressed with metal movable type, as Gutenberg used to do it, on high-quality recycled papers.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

Iconic french punk band Ludwig Von 88 celebrates its 40 years birthday with a 4LP/CD box set including their recent albums "L'Hiver des Crêtes", 'L'Ete du No Future", "Le Printemps du Pogo" & "L'Automne de L'Anarchie".

Who managed the artistic feat of composing 56 cosmic hits in one year, recording them, engraving them with chisels on plastic discs that are not at all environmentally friendly, and packaging them in a magnificent box, with marvellous illustrations and sleeves of a taste that surpasses perfection? Who did?

Look no further than the Ludwigs, who could do it. And since they had no plans for 2023, apart from celebrating their fortieth birthday over a tasteless cake in a dingy old flat in a godforsaken suburb in the forbidden zone, they did it. And they're proud of it.

56 tracks. One album per season. The Mozart of pogo becomes the Vivaldi of stakhanovism!

Good rough punk, ska, swing, reggae, cumbia and even yodelling. What a gift to the universe before its final destruction.

Listen and enjoy. Sing along and get your groove on. After the Ludwigs, the music will have the flavour of a rosewater romance declaimed by Garou in Birkenstock and the colour of the cosmic void after his encounter with André Rieu's five poodles.

Benny Sings, the prolific Amsterdam songwriter behind timeless hits like Pyjamas, Loving Is Easy and Big Brown Eyes, invites you to a musical journey back in time with the 20th Anniversary Edition of his debut album, "Champagne People." This album, written and produced by Benny himself in 2002-2003, marks the genesis of his illustrious career, earning him fans worldwide, including revered names like Gilles Peterson and Questlove. "Champagne People" is a genre-defying classic, seamlessly weaving elements of hip-hop, soul, jazz, and Benny's signature blue-eyed soul. This deluxe edition not only pays homage to the past but also adds a touch of the present with two previously unreleased bonus tracks on vinyl and three additional remixes on the digital album. To make this re-release even more special, the album's artwork has been beautifully redesigned by the renowned artist Bráulio Amado (Ben Howard, Rex Orange County,...). The story behind the album is as enchanting as its music. Benny Sings’ story began with an interrail trip to Morocco, during a time where he felt lost in life. He carried around a tape filled with demos including the blueprints of classics “Twist You Around” and “Champagne People”. The demos captivated fellow travelers during a camping stop in Spain, sparking his music career. Returning with a beard symbolizing newfound strength, Benny embarked on a transformative journey, leading to the creation of his iconic debut album, “Champagne People”. Today, we celebrate 20 years of his musical legacy.

In a recent interview, the California artist Jim Haynes was asked to name his top five noise albums. In quick fashion, he listed off Kill The King, Send, Desnos, Persona, and Carcinosi. Since then, he's equivocated on which albums to choose, but the artists behind such works remain as the adjacent signposts and landmarks to his own constructions of industrial noise. How those records connect to the output from Haynes is found in their unique combination of smoldering dynamism and psychological inquest. For over twenty five years, Haynes has been an autodidactic clinician into the processes of corrosion, decay, and rust, turning his attention away from visual practices and more to the metaphoric crucible of noise and sound. By now, it seems like a cliche that the pandemic changed everything; but since that viral encroachment, there is a noticeable shift in Haynes' work post 2020. It's more aggressive and yet more controlled: a rarification and telescoping of the research into decay for more potent noise and more potent metaphor.

The tools for Haynes' work remain limited: motors, electronics, shortwave radio, found objects, all applied with considerable pressure. Compositionally, Inauspicious is a very rough moire pattern from overlapping elliptical structures that can negate and obfuscate just as easily as they can compound and aggregate. The album surges and collapses upon the two twenty minute chunks of controlled noise that follow an internal logic that snakes from brooding power drones, spectral radio transmission, and an aktionist demolition cast upon metal, glass, and unfortunate wooden objects. Rupture and release. Purge and pulse.

"North London’s midnight man tumbles out his treehouse to deliver twelve potions of minor healing in “Iron Day”, his questing, soul-salvaging songbook. Brimming with majesty and maraud in equal parts, Genghis Cohn synthesises trad. English folk and woe with surrealist dream sequences on this debut long-player. A romance of two hedgehogs, devotional bone temples, broken shadows and sausage kings, GC conjures Brent Hayward strolling through the silver birch and presents to us, in a warmly recognisable form, a grand slab of folk music that challenges its ancient rewards.

Previous acquaintance with GC's lean, amorphous strain of experimental home recordings may encounter a menacing apprehension whilst trying to settle in the splendour of "Iron Day", unnerved by it's posture and the anticipation of songs dissolving or amalgamating in rust and gob at any moment. Still minimalist and direct, but delivered by an altogether different jester, songwriting that has featured in many previous works is smithed into fine, well-wrought suites that build and blend through paced, tempered sequencing and playful, intricate storytelling.

Amidst cavernous inner-dialogue and brilliant, contorted pastoral sequences, GC’s guitar (reported to be over 100 years old!?) laps and thrashes alongside accompaniments of Lauren Collier’s aching violin, a lethargic harmonica and emphatic hand-percussion that drifts in and then out. A dynamic, earthy collection that places future barn-stormers like “Underneath The Oak” and the gentle blaze of “Onion” in cadence with the doom-stricken, ghostly slides as on “Misunderstood” and “Secrets”, all recorded in dazzling clarity that captures the cascading instrumentation as clearly as the settled, tormented humour of GC’s blues. Indispensable candlemeat and essential, joyous listening for fans of; Davy Graham, The Godz, Leonara Carrington, Smelly Feet, Martin Carthy..."

ONE LEVEL is delighted to announce its latest release, the captivating 'Big Tal's Elements' EP by French DJ/Producer, ALEQS NOTAL.

Following the resounding success of One Level's debut release, the awe-inspiring Afro-futurism of Hagan's 'Forward Focus' EP - a production that ignited a dynamic and fruitful chapter for the London-based artist - the label has been meticulously crafting its return. One Level prides itself on championing quality over quantity, and this ethos is beautifully demonstrated in its second release...

Aleqs Notal, the former scratch champion and consistently evolving producer, joins the label family with a collection of four remarkable tracks. Despite his years of experience, Aleqs admits that he's still in the process of refining his own sound and with 'Big Tal's Elements’, a nickname affectionately bestowed by longtime friend and fellow artist Manaré, his four carefully curated house joints encapsulate a wealth of influences, all beautifully combining to create a modern and innovative soundtrack.

Following his early years of turntable virtuosity, and having embarked on a new creative chapter in the studio, it was 2014 and as a founding member of the innovative ClekClekBoom collective - a group of young French talents who spearheaded a groundbreaking movement that reshaped the Parisian electronic landscape - that saw Notal continue to cultivate his own sound, one rooted in the sounds of Detroit and Chicago. He became a respected DJ on the cities’ club circuit, and has gone on to to feature his music on esteemed labels including Phonogramme, Salon Recordings, Release Sustain and Patrice Scott's Sistrum Recordings.

The EP opens with 'Untwisted Delight', a homage to the timeless sound of the Motor City. A bass-driven DJ tool, pulsating with the resonance of the 808, evoking echoes of Pittman, and igniting a powerful dancefloor energy.

‘Save Ya’ is an ode to determination and self-preservation. A track with its roots deeply embedded in the dancefloor and featuring an archive sound-bank vocal alongside glorious hi-hats, it is a firm favourite of Notals. “I think its from my scratch background. I always work with the hi-hats. For me, when I hear the hats its as though I hear somebody singing." Fully road-tested at Fabric London, Save Ya is now set to rescue many a night.

'Come Get It' channels the spirit of early Chicago house. A fusion of spirited 606 and 808 drum patterns, coupled with the enchanting allure of resounding hi-hats, it offers a heartfelt homage to the revolutionary sounds that defined an era and continue to influence so much of today’s music.

Concluding the EP is 'Hymn Of Passion', a track inspired by Ron Trent's Future Vision imprint. Drawing on a diverse palette of Nigerian percussive elements and samples garnered from past projects, Aleqs weaves a sonic mosaic. Crafted in a single jam session, the track elegantly melds a rhythmic finesse with resonant congas, intertwining with the emotive Rhodes piano, to craft an unforgettable finale.

With a diverse array of influences seamlessly interwoven, Aleqs Notal’s ‘Big Tal's Elements’ EP is a journey through sound that fully captivates the listener.

Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet – and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz – the 1967 magnum opus mesmerizes with instrumental colours, subdued musings, and subtle details.

This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.

Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page

A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You" – a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

The Solo MC’s kicks off with Harlem’s pioneering Spoonie Gee’s influential “Spoonin’ Rap” from 1979. “Catch The Beat” from T-Ski Valley captures the post-Disco Bronx era of Rap. The side closes with the underground personality Funkmaster Wizard Wiz whose “Knucklehead Rappers” came after he broke from The Undefeated Three. Brooklyn’s Jimmy Spicer delivers a 14+ minute marathon “Adventures of Super Rhyme (Rap).” Grandmaster Caz from Cold Crush is paired with the Fantastic’s Whipper Whip for “To All The Party People” Captain G Whiz from Freddy B’s Mighty Mic Masters closes with his solo 12” track “All The Way Live.” The bonus single features a Kool Keith solo from the Ultramagnetic MCs backed with Grandmaster Caz by himself doing “I’m What Is and You’re What Wants To Be.” Track Listing: A1 Spoonin' Rap-Spoonie Gee; A2 T-Ski Valley-Catch The Beat; A3 Funkmaster Wizard Wiz-Knucklehead Rappers; B1 Adventures of Super Rhymes-Jimmy Spicer; B2 Grandmaster Caz with Whipper Whip-To All The Party People; B3 All the Way Live-Captain G. Whiz; Single A: Ultramagnetic MC's-Kool Keith Wild; B: Grandmaster Caz-I'm What Is Your What Wants To Be

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

Preston’s unholiest sons Evil Blizzard return with their most furious, compelling and diverse album to date, released on their own Crackedankles label, (which has recently branched out into releasing the likes of Hotwax, Thank, Bad Guys and TV Face.) Following the critical and commercial success of their last album ‘The Worst Show On Earth’ the band took a year off after that tour to recoup. And then got back together in March 2020, just in time for… another enforced year off. They did, however, release ‘The Very Best Of Evil Blizzard’ on vinyl, which was completely blank. And sold out in less than a day. The new album, their fifth, was written during and post lockdown and ‘reflects the claustrophobia, fear and paranoia of those days’ according to guitarist (not bassist!) Filthydirty. ‘The band has changed. One of our 4 bassists Kav left and we were joined by Fleshcrawl (aka Mr. Dibs, Hawkwind’s vocalist and bassist for over 12 years). Kav was inimitable as a musician, so it never crossed our minds to try and ‘replace’ him, so when Fleshcrawl scurried in he brought a whole new range of sounds and toys to the sandpit. Also, we’d run out of sonic space to play with, having just the basses, and everything had got a bit stale - so I switched to lead guitar which brought a whole new range of possibilities. 'The new album is much more representational of the band’s record collections: it retains the ‘Sabbath-meets PiL-meets Killing Joke’ sound found on the band’s earlier albums, but now encompasses dub, goth and electronica in its 8 tracks, with clear nods in the general direction of Sonic Youth, Jane’s Addiction, Leftfield and The Mission. As opposed to all previous albums which were recorded live in one or two takes, this album took over three months with the band meticulously de-structuring songs ‘that sounded too much like pop songs’ resulting in an album that is uncomfortable yet still accessible. Featuring cover art by the legendary Nick Blinko or Rudimentary Peni, the album is released in gatefold sleeve on black vinyl, compact disc and DL.

The architects of soul are back with “Big Time Lover”, a 12-track vinyl LP album with highlights from this year’s “Soul On The Real Side #15” CD collection Tracks here are the building blocks of modern soul with a play list of mid-tempo Northern and Crossover Soul – classics and rarities.
It's brought to you from the West Midlands – the stomping ground of Real Side Records founder member Mr Tee.
The LP is packed with modern soul gems all culled from the incredible Captipl Reords soul legacy. They need little introduction to the UK rare soul scene, but here is a snapshot of a few highlights.
Our show opens care of the million-selling group Cornelious Brothers & Sister Rose from Dania Beach, Florida. They shot to fame in 1971 with their hit “Treat Her Like A Lady” and the follow-up “Too Late To Turn Back Now”, both certified gold discs. Here we feature the title track of their 1973 album Big Time Lover.
Trk. 2, “The Game Is Over”, is by the short lived California girl group Brown Sugar featuring the one-hit-wonder Phyllis Nelson. The legendary Tavares Brothers perform trk. 3 while George Soule leads the way on trk. 4 with his #35 R&B hit “Get Involved”. Bettye Swann from Shreveport, Louisiana, delivers a heartrending performance on “My Heart Is Closed...” (trk. 5), her debut recording for Capitol in 1968.
The album closes with the fabulous C. M. Lord “Oh Mama
(Your Daughter’s A Woman Tonight)”

Swingrowers (pronounced Swing Growers) released their second album REMOTE on 14th August 2014. Since then, it has been streamed over 13 million times on Spotify, while the official music videos for the two main singles have notched up over 10 million YouTube views. Now the album is being released on wax for the first time as we approach its 10th anniversary.

This is a highly desirable LIMITED EDITION pressing on WHITE VINYL with a free download card enclosed.

REMOTE itself is a revelation. It stood the test of time because it's one of very few complete and fully-realised Electro Swing albums that seamlessly blend 20's and 30's influences (violin, gypsy jazz guitar, saxophones, swing music) with polished contemporary production. Here superb musicianship meets great song-writing meets a unique modern sound. Plus jazz-inflected vocals.

It's the sound of a young band (and indeed an up-start young genre) maturing rapidly and would pave the way for the brilliant albums that followed and indeed for the on-going popularity of the genre.

It will be a sought-after release for fans who have bought the more recent two albums on vinyl, and by fans of other vintage influenced swing artists like Caravan Palace or Parov Stelar.

Eight years following their debut LP “Charnel Passages” (one of the most anticipated death metal debuts of current death metal cannon), US-via-UK abyssic death metal contingent CRUCIAMENTUM have finally emerged with their sophomore masterwork “Obsidian Refractions” set for release on Nov 24.

Now more commanding than ever with a formidable new lineup, “Obsidian Refractions” sees CRUCIAMENTUM deliver their most advanced and overpowering work yet. Taking everything in the band’s death metal paradigm to the next sonic measure beyond anything they have previously released, “Obsidian Refractions” combines the very essence and aesthetic of ancient cult death metal while encapsulating the dynamic, complex, next-level affectations relevant in today’s death metal landscape. The result being “Obsidian Refractions” as a towering death metal monument unparalleled.

Parallel Minds’ fifth label release is a major landmark for the Toronto-based label. Not only is it their first full length LP, it is also the debut album from co-founder Ciel, who is also making her first solo appearance on the label since its inception.

In 2021, spurred on by a productive creative streak and the economic austerity of pandemic lockdowns, the Xi’an-born and Toronto-based DJ Ciel (real name Cindy Li) applied for grant funding from the government of Canada to write her debut album. Self-proclaimed “DJ first, producer second”, Ciel never thought she would have the self-confidence and desire to write an album. It wasn’t until after spending prolonged time away from clubs & festivals whilst dedicating herself to daily sessions in her studio that she gained the motivation and aspiration to make a musical statement that only an album could express.

Since the start of the covid19 outbreak, Ciel, like many other Chinese diaspora people in the West, had felt a great deal of anxiety and pain at the rise of anti-Chinese sentiment and racism in the media — even in her corner of the dance music industry. Tired of expressing her frustrations fruitlessly online, she felt inspired to channel that into her music, to turn something that was filled with hate into a thing of joy and beauty. It was within this context that Homesick began to take shape.

After researching the rich history of Chinese instruments, a concept began to form around the album in which she could marry her love of sampling and analogue instruments. Using the eight types of traditional Chinese instruments (silk, bamboo, wood, stone, metal, clay, gourd, and hide) as a guideline, Li began writing each track with a focus on one of the eight. She hired traditional Chinese instrumentalists to play the guzheng and the xiao, whilst purchasing and teaching herself the smaller hand drum instruments like the kuaiban (bamboo clappers), and muyu (temple blocks). With the news that she had successfully been granted funding from Canada Arts Council, she wrote, recorded, arranged, and mixed all nine tracks of her album over the first three months of 2022. More than just highlighting Chinese instruments, the music on this album encapsulates so many musical influences from Ciel’s childhood when she began her lifelong love affair with music. True to her style as a DJ, the LP incorporates a diversity of genres she loves, from drum & bass to house, electro to breaks - even downtempo.

What has come out of these sessions is a deeply personal dancefloor record, a true expression of love for Cindy’s culture that came out of a time of relentless chaos, negativity, and uncertainty. Ciel sees her compositions as a distillation of herself — her life experiences, her wide interests and passions, and her often-turbulent emotions. Immersing oneself in the LP feels like listening to the musical confessions of an artist heading towards the peak of their career, who is finally starting to make sense of her artistic identity. What a joy to witness it.
credits

Following on from recent works for 12k, The Trilogy Tapes, and Important, Far More Decentralized is a new collection of subtle, enchanting pieces from Tokyo-based sound and visual artist Akhira Sano. Working with electronic, instrumental, and concrete sounds, he crafts immersive assemblages of long overlapping tones and blurred resonance, cut through with textural crunch and hiss. The resonant bell-like tones of opener ‘Kouai’ invite the listener in, calling up the warm sound palette of ambient classics like Hiroshi Yoshimura’s Music for Nine Postcards, but leaving any sense of compositional anchor behind for a free-floating harmonic drift. Woven through this seductive tonal cloud is a wavering stream of white noise and tactile pops, its textural grit threatening to derail the calmly reflective pool of pitched sounds, but never quite doing so. Each of these seven pieces occupies a similarly ruminative harmonic space while possessing its own identity. On ‘Neow’, lush tonal swells form around fragmented samples, touching on the techniques of early 2000s glitch artists like Ekkehard Ehlers. ‘Orbv’ is particularly subtle in its combination of rippling back-masked tonal wash, almost subliminal suggestions of field recordings, and distant traces of raw electronic interference, as if a Toshimaru Nakamura recording is playing through an open window across the road. ‘Margin’ weaves together a skein of wistful slow-motion melodies while untraceable, resonant clinks and ambiguous static washes rise gradually to the surface. In comparison to his recent Phase Contrast for Recollection on 12k, recognisable instrumental sounds are a rarity here, yet a hand-played feeling is present throughout. On ‘Teens’, filtered electric guitar tones reminiscent of the melancholic miniatures of Andrew Chalk float over aqueous burbles, bringing the album to a magisterial close. In the crowded field of contemporary electronic music tending toward ambience, Sano is a distinctive voice. Like his elegant abstract paintings, here seemingly static surfaces of unhurried calm reveal rich interior worlds of subtle activity and gentle chaos. Where much contemporary ambient music aims for an almost stifling cleanliness of tone, Sano breathes life into Far More Decentralized through the acceptance of imperfection, accident, and rough edges. As the artist himself says, ‘In a world where everything can be made perfectly, I think it’s a beautiful and primal act to touch the fragile and imperfect’

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Detroit based Graphic Artist/ Fashion Designer/ Producer/ and DJ Johnny Malek has quickly fallen into the hearts and minds of the house music community.

Coming off a powerful 2022 with his debut Beatport EP “Hope” hitting number 1 on Beatport followed up with a string of releases including a 4 track organic house EP titled “Tales of Tulum” and two full length albums “How to Pray” and “Memories”.

Keeping his foot on the gas and continuing to dial in his sound in preparation for his Yoruba Records debut Johnny delivers with “I Promise” - A Deep House Anthem with banging afro house drums and an extremely powerful gospel vocal encapsulating the classic sounds of House Music.

Johnny has no plans of slowing down anytime soon as he continues to dive deep into his original sound and style and pushing the boundaries of the next generation of House Music artists and producers.

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."

"This Is a Manifesto of My Love of the Free Human, and My Affection for Those Sparks That Arise From Our Friction. When,
when We Are Open to Each Other, We Manage to Draw From Them a Friendship and a Sharing That Will Build Us Even More." Folamour Discover Manifesto , the New House & Pop Album Recorded in the Hustle and Bustle of Marseille and Amsterdam. This Album Conveys A
message of Peace and Communion, a Mix of Electronic Pop and Club Anthems. Funk/house Artist and Outstanding producer,
Folamour Draws on a Variety of Encounters to Express His Musical Desires and Ideas. Amadou Et Mariam ; Family Habits ; Tim Ayre ;
Khazali; Baccus; Emmanuel Jal and Jungle by Night Bring Their Talent and Energy to This Brand New Project. ...

Découvrez "Manifesto", le nouvel album house & pop enregistré dans l'effervescence de Marseille et Amsterdam. Cet album transmet un message universel de paix et de communion, un mix de pop électronique et d'hymnes club. Artiste funk/house, et producteur hors pair, Folamour se nourrit de rencontres diverses pour exprimer ses envies et idées musicales. Amadou et Mariam ; Family Habits ; Tim Ayre ; Khazali ; Baccus ; Emmanuel Jal ou encore Jungle By Night viennent apporter leur talent et leur énergie sur ce tout nouveau projet. En presque 10 ans, Folamour a cumulé plus de 600 dates dans plus de 30 pays ! Après une tournée en Amérique et en Australie, il a pris la route des festivals cet été, avec des performances inoubliables à We Love Green, Glastonbury, Primavera et dans toute l'Europe ! "Manifesto", double gatefold, artwork de Misterpiro.

On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.

Following on from the psychoacoustic concrète of Outside Ludlow / Desert Disco LP (BT075), Sam Dunscombe returns to Black Truffle with Two Forests / Oceanic. Dunscombe has been active in recent years on multiple fronts, including as a key member of the Berlin community of Just Intonation researchers and practitioners; working with composers like Taku Sugimoto, Mary Jane Leach, and Anthony Pateras; and the release of Horatiu Radulescu - Plasmatic Music vol. 1 (the result of many years performance research into the thought and music of this seminal Romanian spectralist). In parallel with these activities, Dunscombe has been deeply involved in research on the role of music in psychedelic-assisted psychotherapy, prompting these two side long pieces, composed using field recordings and digital synthesis. As Dunscombe explains in the accompanying liner notes, music plays a key role in psychedelic-assisted therapy, yet it is often restricted to stock forms of New Age, ambient and electronica. Taking seriously the potential for spatio-environmental sonic experiences to add to the therapeutic process, these two pieces are intended to suggest how ‘a music-as-environment approach may help to add options to the therapist’s toolbox’. ‘Two Forests’ begins in a central Californian sequoia grove. Bird songs and buzzing insect life are treated with a variety of time-based processing methods (slicing and recombination, primitive granular synthesis, delay, and so on), which strip the field recordings of their linear, documentary character, reframing them in an enchanted web of traces and echoes. Analysing the pitches found in the original recordings, Dunscombe used them to generate a large Just Intonation pitch set. These tones are woven slowly into the field recordings, gradually building in density and complexity until the forest has been transformed into an unreal space of infinite proportions. Emerging from this cosmic expanse in the final minutes of the piece, we find ourselves in the Amazon rainforest outside Manaus, Brazil. As Dunscombe writes, the piece creates ‘a sense of place-gone-strange, of space and time simultaneously expanding and contracting across octaves, miles, and minutes’. On ‘Oceanic’, several recordings of different beaches fade in and out to create a texture both homogenous and constantly shifting in both the rhythm of the waves and each recording's sense of depth and distance. Tones relating in simple ratios to the average rhythm of each beach float over each other, colouring the white noise texture of the field recordings with shifting hues. In both pieces, Dunscombe forgoes the easy consonance that bogs down much contemporary ambient music for a richer harmonic array informed by extended tuning practices and spectralism. The end results suggest a hitherto undreamt-of meeting of Radulescu’s undulating sonic masses and the discreetly processed location recordings of Irv Teibel’s ‘psychologically ultimate’ Environments. Looking beyond the insularity that can afflict experimental music culture, Dunscombe’s work is a moving argument for the healing power of expanded approaches to sound and music. Even outside of a psychedelics-assisted therapy, frequent immersion in Two Forests / Oceanic is almost guaranteed to produce beneficial psychological results.

mule musiq welcomes british producer jimmy wallace, presenting his debut album “red, yellow, black” - a nine track strong record that partly leaves the dancefloor behind.

since childhood, music has been a strong influence on the 33-year-old artist. his mother, a music teacher, exposed him to classical sounds from an early age.

but it was hearing the electronic tones of the french touch movement, which really ignited his mu-sical journey. a year later he started to dj, acting out his love for four-to-the-floor grooves in local clubs. today you'll find him on the bill with artists like ruf dug, mr scruff, or bradley zero, heating up the dance floors.

as a producer he has already released a handful of stunning eps, including one for sweden’s finest house label studio barnhus, and one for london’s revered rhythm section international imprint.

both feature house tunes with an edge, house tunes with a love for the roots of the genre along-side more reflective, ambient moments. he also runs the label tartan records, where he publishes dancefloor focused white labels.

his music has been championed by titans of the scene such as palms trax, ryan elliott, dj tennis, gilles peterson, dixon, and hunee. axel boman even coined his debut ep as “one of the very best demo emails ever received at label studio barhnus hq”.

an advance praise, that wallace now acknowledges with an album full of deeply crafted music. some tracks lean towards the dancefloor, like the swung sounds of “bubbles”, the hypnotic mael-strom of “good morning”, or the epic, jazzy moments of “labyrinth”.

the theme of nature is evident throughout, with field recordings and environmental sounds he rec-orded on the road, being fused with his own musical ideas.

tracks like “waterfall” and “tokyo street”, draw influence on time spent in asia, whereas "dhq", "by the river", and "by the lake" are inspired by his childhood and hometown in the shropshire country-side. “i’ve been writing ambient and more nature focused material for a few years now without really having a plan for it.

finally, this year after writing the tune “labyrinth” i felt i had a body of work which was both diverse and cohesive enough to bring together on a record. so, the album represents moments of time i have spent in various outdoor spaces around the world, using sound to try and turn these experi-ences into musical format.” wallace discloses.

the result is a mesmerizing long player featuring an evocative, emotional story arc that avoids ste-reotypes and straight party orientated narration. “having written plenty of club music for the past few years, i wanted to show a different side to my sound.

something more intimate, private, experimental which can be listened to away from the party.” he reveals on the meditative, blissful “red, yellow, black” - an album, which has the power to transport listeners to places and spaces new – for inspiration, relaxation, and dancefloor moments off the beaten path

Experimental rock quintet from Los Angeles for fans of Unwound, Duster, Slint, and Lowercase. Mixed and engineered by Tim Green at Louder Studios (Unwound, Melvins, Jawbreaker). Live appearances with Flenser labelmates, Have a Nice Life, Chat Pile, Midwife, and tour dates planned throughout 2023. Since its formation in 2018 by like-minded Calarts students Alex Kent (guitar, vocals), April Gerloff (bass), and Sylvie Simmons (guitar), as well as the recent addition of Clint Dodson (percussionist), Los Angeles-based quartet Sprain has honed its signature flavor of experimentalism to a razor-fine point. Gradually moving from twisting conventions in its early works of minimalist slowcore to now transcending the confines of genre altogether, Sprain's evolution over the past several years has encouraged the band to embrace a sound true to its muse. With its latest record, The Lamb As Effigy or Three Hundred And Fifty XOXOXOS For A Spark Union With My Darling Divine, the band has translated this intent into an ambitious work that pairs its resplendent scale with uncompromising honesty towards the band's artistic and conceptual essences. The most extraordinary of art isn't created without its fair share of trials, of which Sprain faced numerous during the recording process of The Lamb As Effigy, with the sum and circumstances of them nearly sealing the album's fate in limbo. With obstacles including session reschedulings as a result of a line-up change and a major studio electrical failure at the last possible moment, a mixing process that demanded the organization of several years of material across four separate studios, and the recording of the actual songs pushing the members of Sprain to their own physical limits, there were several times where the band considered scrapping the whole thing altogether. But Sprain persevered, applying the knowledge and willpower derived from those struggles to get The Lamb As Effigy across the finish line. Clocking in at nearly two hours, The Lamb As Effigy resembles an aural parallel to the human experience itself, with all the glorious beauty, crushing brutality, and unexplainable chaos that comes with it intact. Explosions of earth-sundering guitars, angelic keys, swirling strings, and bursts of improvised electronic noise coalesce to weave a visceral yet unique sonic tapestry bearing hints of no-wave, sound collage, 20th-century avant-garde, and free jazz. Spanning bellowing howls, emphatic spoken word, and nuanced croons, Alex Kent's dynamic vocal delivery adds texture to these eight meditations on otherwise immaterial topics and the meaning or the lack thereof they embody.

We are delighted to share a new concept classical series which is aimed at a new audience for classical music. These titles focus on composers and their most famous pieces of all time, whilst encompassed in beautiful packaging in an expressionist style which we aim to deliver for years to come. These hand-drawn artworks will have a premium feel whilst being accessible and interesting for new younger audiences.

Limited to 500 copies ww. Independent heavyweights Spearmint return this year to follow-up 2021's highly acclaimed 'Holland Park', with the superb new album 'This Candle Is For You'. Spearmint have been making great records for a couple of decades now: this will be their tenth album proper. Still the same line-up: Shirley Lee (singing, guitar), Simon Calnan (singing, keyboards), James Parsons (guitar, bass) and Ronan Larvor (drums). This album will be the 60th release on their own hitBACK label. Missed out so far? The new album provides the perfect place to start! The dizzying multiverse of an album covers a wide array of themes, including the search for a missing sister, the ways we remember lost loved ones, Prince's encounters with Joni Mitchell, the story of John Gavin, the James Bond star who never got to make a film, late-night drinking in Soho, the joys of B-movies & video nasties, changing attitudes to mental health, the plight and wonder of older cats, the reaction to the death of Sarah Everard, and the afterlife. Re-united with producer Rhodri Marsden (Scritti Politti), the band feel that this record is their best yet. Singer Shirley explains "We started off just wanting to make an album that would stand alongside our last one 'Holland Park', but it ended up surprising us - we love it!"

Cologne-based afro-fusion collective Muito Kaballa announces their signing to Batov Records with the new single "Live A River Part I": Acting as the introduction to the musical world and lyrical narratives of the upcoming record "Like A River, the track leans into the river theme, providing an all-encompassing, flowing journey. Tim von Malotki"s percussive bass clarinet lines cut through the meandering wash of Benjamin Schneider"s rootsy, highlife-inspired guitars and atmospheric piano flourishes, courtesy of Jan Janzen. Vocalist Nora Beisel floats across the arrangement, backed by emotive horn harmonies whilst reflecting on the change of path at the end of a relationship; a new orientation and course set.

Llevamos mucho tiempo trabajando en este proyecto familia, y desde lo más profundo de la estepa manchega… tenemos el orgullo de presentar nuestra primera referencia en formato vinilo, un 12” que se introduce en el amplio espectro del amen breaks , jungle y esos sonidos rotos que tanto nos caracterizan, para ello quisimos contar con artistas que nos han apoyado siempre en el camino.

BELLOTA DUBS serán los encargados de ofreceros un breackcore mas que significativo , serio, elegante y contundente, como ya bien nos tienen acostumbrados.

BOOMBASS BROTHERS no podía faltar nuestros hermanos de alegrias y fatigas que tanto camino hemos recorrido juntos.

Los cordobeses se han encargado frecuencias más undergrounds fundiéndose con un amen breaks que tiene su esencia más que reconocible.

SILLY TANG y su amor por la cumbia, va a caracterizar mucho este track no dejará a nadie indiferente, para ello nos ofrece un tema de los que dejan huella allá donde vayas.

PABLO DREAD consideramos que las producciones de Pablo son “brutales”

En esta ocasión nos deja un track, que nos remonta años atras, en esas raves noventeras con teclados, y con esa finura y elegancia que tanto le caracteriza.

En definitiva un vinilo que engloba uno de los estilos que nos mueve, nos aporta,y nos da una gran amplitud donde todos nos vamos a sentir mas que a gusto, con los distintos enfoques que nos ofrecen estos pedazo de artistas, que han cumplido nuestras expectativas de largo y con en el cual nos sentimos realmente orgullosos de presentar este primer EP.

Increíble currazo que se ha pegado nuestro hermanito @adrian__bd millones de gracias Adri más contentos no podemos estar.

Esperamos que sea de vuestro agrado aunque solo sea una minima parte de lo que de verdad a sido este proyecto para nosotros.

Muy pronto en vuestra tienda de vinilos de confianza.

180g limited edition on high-definition premium vinyl for super fidelity the great Nina Simone's style encompassed a broad range of musical genres ncluding jazz, blues, folk, R&B, gospel, pop, and classical music. This collection ompiles some of her best performances of jazz ballads and blues, the album's A ide programmed to feature the ballads, and the B side for the blues. mong the many highlights are her classic readings of the ballads 'I Loves You orgy', 'Little Girl Blue', and 'Black Is the Color of My True Love's Hair', as well as lues such as 'Trouble in Mind', Billie Holiday's 'Fine and Mellow', and 'Nobody nows You When You're Down and Out'. s a bonus, one of Simone's biggest hits, 'My Baby Just Cares for Me', has been dded to this essential collection.

Grand River and Sofie Birch are set to unveil their collaborative EP, titled “Our Circadian,” on November 24, through Melantónia.

The two-track release follows Grand River’s final release under the now-discontinued Editions Mego label earlier this year, and Sofie Birch’s two solo albums from 2022. Our Circadian represents the second collaborative release on Melantónia, a platform founded by Hanna Maria & Mattia Onori in 2021, dedicated to music for non-dance environments, featuring early contributions from artists like Polygonia, Plants Army Revolver, and Melantónia co-founders Hanna Maria & Mattia Onori themselves, amongst others.

“Our Circadian” was conceived remotely in 2021 during the lockdown, with the aim of encapsulating two distinct moments of those days – early morning and late afternoon – along with their subtle emotional nuances. The first track of the release – 7PM – conveys dreamy atmospheres that flow into colorful rhythms, recalling the electroacoustic nature of the label’s melancholic sounds. The gloomier 3AM, on the other side of a 7“ record, offers a timeless introspection of a gently intensifying synth sound’s fling.

Grand River, a composer and sound designer, brings her background in linguistics to her work. She draws inspiration from minimalism and ambient music, resulting in atmospheric and rhythmically intricate compositions. Her artistic pursuits traverse the realms of art and electronic music, exploring forms of communication that transcend language, often influenced by nature, scale, and movement. Grand River’s impressive portfolio includes sound installations at 4DSOUND/Monom and Terraforma’s Il Pianeta, as well as performances at prestigious venues like Barbican, Rewire, MUTEK, Le Guess Who?, CTM, Draaimolen, and Atonal’s Kraftwerk. She has also worked on remixes for notable acts like Tangerine Dream. Since 2016, she has curated the label One Instrument, offering a unique creative challenge to artists: creating music using only a single instrument.

Sofie Birch, a celebrated sound artist and producer, is known for her lush ambient releases, art installations, live performances, DJ sets, and her NTS show “Ambient Abracadabra.” Her sonic creations can manipulate space, infuse it with a profound sense of calm, and invite listeners to engage in meditation and introspection through the healing qualities of sound and vibrations. Her music acts as a conduit for understanding the complexities of the mind and body through artistic expression, characterized by a distinct emphasis on stillness, suspension, and sustain. Sofie’s soundscapes open gateways to dream-like states of perception and heightened presence, providing a transcendental journey into an alchemical biosphere. Her extensive repertoire includes performances at renowned events such as Barbican, Roskilde Festival, MUTEK, Unsound, CTM, Rewire, Monom, and Terraforma, as well as award-winning compositions for VR experiences and animated films, in collaboration with artists like Baum & Leahy and animation director Pernille Kjaer.

As Our Circadian takes its final form, it promises a narrative of resilience, creativity, and the indomitable human spirit guided by the artistic mastery of Grand River and Sofie Birch.

Tape

Atollo« is the debut solo album of the Italian percussionist and composer Daniele Di Gregorio, a virtuoso of the marimba and the vibraphone who has worked with a large number of artists, including Donato Dozzy, Giorgio Gaslini, Tony Scott, Randy Becker, Luis Agudo, as well as Mina, Andrea Bocelli, Fabio Concato, Malika Ayane, and many others. He also has a long-standing collaboration with poet and composer Paolo Conte.

His latest work »Atollo« is divided into three very different sound paths. The first and most extended section is entirely played with the marimba, an instrument that is still fairly new and in full evolution. Some pieces have been performed using special gloves and see the over-layering of two marimbas, in order to build polyrhythmic designs and hypnotic sequences. Other marimba pieces have been performed in “solo” versions using soft, medium and hard mallets.

Secondly we encounter the trumpets of the Vienna Symphonic Library, which pieces after dissecting sound by sound build up the compositions with overlapping rhythmic and melodic loops. »Atollo« the piece that gives the title to this album is the closing track and is created with the Petrof Grand Piano, an evocative and hypnotic piece intended to describe the sound of the sea and the movement of its waves.

All the compositions are deliberately descriptive of the title they take, and are a sonic journey into the composer's past and present.

Composed and performed by Daniele Di Gregorio
Produced and mixed by Niccolò Di Gregorio
Mastered by Luca Sammartin
Original artwork and layout by Marco Ciceri

Gombloh’s forgotten masterpiece

What if you have Brian Wilson and Bruce Springsteen rolled into one? And what if he came of age as an poor buskers in in Surabaya, Indonesia, but then summoned enough strength to record six albums that flew in the face of everyone in the country’s rock scene back in the early 1980s?

Genius, be they Brian Wilson or Soedjarwoto “Soemarsono” Gombloh, don’t conform to rules written for us mere mortals. They have their own way of doing things and in the case of Gombloh, writing music, conducting recording session and spending cash from his music, must be conducted on his own terms and his terms only. Studio time was expensive back in the early 1980s, yet Gombloh could be three-hour late for his session, and while engineers, session musicians and producers were jittery about the prospect of another botched session, Gombloh took his time for a nap before the recording begun.

Yet, some of his greatest works came into being in the wake of this napping session. Recording session for Sekar Mayang is no exception, despite the fact there’s foreboding sense of doom with Gombloh being unsure about the possibility of selling enough units to help his label break even. This is, after all, this is his last record with his band Lemon Tree’s. No one knew that Gombloh was operating with all his cylinders running and what came out of this Indra Record session, in the waning days of 1980, were some of the best compositions ever committed to magnetic tapes (to wax, if now you’re holding this on vinyl).

This is Gombloh at the peak of his creative genius. You can argue that his debut album Nadia & Atmospheer (what’s with the spelling mistake?) is the most sprawling and complex album (both sonically and thematically), but Sekar Mayang certainly had the best songs and I can make the argument that this album’s 10 songs are strong contenders for biggest hits in blues, country, psychedelic rock charts. “Prahoro & Prahoro” is one of those impossible song which appears to have sprung from a bottomless well of inspiration, encompassing King Crimson’s sprawling epic, Deep Purple’s deepest blues and Genesis’ most progressive tendencies. Or “Sekaring Jagat”, which begins as Lennon-McCartney lullaby before launching a thousand ships traveling to the end of the rainbow with children choir singing heavenly melodies backed by droning harpsichord and synclavier, while a buzzing Hammond B3 tightly locks with Gombloh’s guitar strumming.

For many of his fans, Gombloh is known as generous man of the people. A Robin Hood type if you please. He spent his royalty checks to buy foods for beggars and buskers and dish out some more to buy undergarments for Surabaya’s prostitutes. In Sekar Mayang, Gombloh went full Springsteen mode in “Mitra Becakan,” a social commentary that cut so deep you can end up with tears in your eyes and lump in your throat (even if you don’t understand any of its Javanese language lyrics). This is one the most devastating social commentary ever recorded for a pop song, and even if you discount the greatness of its musical composition, you chalk this up as a great social-realism poetry. His years of hanging out with pedicab drivers, street vendors and street-bound prostitutes certainly gave him enough insight into their (in)human condition.

Yet, a record this stellar was largely forgotten. First, this record was a flop upon its release in 1981. Indra Records reportedly only did one pressing on cassette tape and be done with it. For those who were lucky enough to have come across one of songs from this album on the radio were likely growing up in East Java, where Gombloh had a massive cult following early in the 1980s. Nothing was heard from this record again.

There were only a handful of cassette tapes from the first pressing found on second-hand market and I recently stumbled upon one online with a price tag of Rp 50 million (US$3,500). It’s no longer available now.

In Sekar Mayang, Gombloh harbours an obsession for a long-lost utopia, Java’s distant past, where farmers have their barn full of rice and corn, where blacksmith working around the clock making tools and children singing and dancing in their seminaries. Or the fact that he opens the song with stanza from Serat Weddhatama, arguably the most monumental poem in neo-classic Javanese literature, could be his pledge of allegiance. The question for him is should a modern-day Indonesia, rife with poverty, corruption and environmental degradation not be an anathema to that utopia?

In the end, you don’t need to be someone fluent in Javanese to enjoy this majestic record. And if this record turns out to be the last in Elevation Records catalogue and we shut down this label tomorrow, we will be very happy. Mission accomplished!

L+P-2 is Rivet's second album following his acclaimed debut, On Feather and Wire, released on Editions Mego in 2020. The wheels were already in motion for a subsequent album on the same label, but tragedy struck. Peter "Pita" Rehberg, the legendary owner of Editions Mego, suddenly passed away at only 53 years old, leaving the experimental electronic music community in a state of pitch-black grief. Rivet was among the many deeply affected by this loss. The inspiration and support from Rehberg had propelled Rivet to create at a level he himself was uncertain he had mastered. For Rivet, Rehberg's death felt like the death of music.

However, that brooding sentiment was abruptly shattered when Rivet's beloved dog and companion, Lilo, was diagnosed with incurable cancer just a couple of months later. They were inseparable, and now they would be separated nonetheless. The only way Rivet could cope with this double blow was to compose—for Lilo, for Pita, for his own sanity. L+P-2 is the result.

While the album naturally emerges from a place of despair, it's remarkably comforting. Partly, this stems from Rivet's singular ability to make machines not only sound human but also act human—sincere and warm, yet flawed. In more than one track on L+P-2, you'll encounter a distinctive melody and a gnarly bassline dancing hand in hand with Rivet's eccentric and captivating drum patterns. Then, seemingly on a whim, the melody takes off on its own, leaving the faithful bassline behind—much like a dear friend that suddenly vanishes from your life without warning. Yet life goes on, and so does the music. But never unchanged. Never.

L+P-2 is an album of lamentation, yet also of resolve—a dedication to those who go through life losing more than their share because they always carry too much.

"Dance of Rhythms" by Fred P, the latest release on Syncrophone, is a captivating exploration of deep house music. This 12'' vinyl record, elegantly presented in a translucent deep purple format, encapsulates Fred P's distinctive style. On the A1 side, "Dance of Rhythms" invites listeners to a hypnotic journey with intricate beats and entrancing melodies. It beckons you to immerse yourself in its captivating rhythms and hypnotic grooves. Flipping to the B1 side, "The Beauty in the Sound" unveils a rich sonic landscape filled with lush textures and ethereal atmospheres. Fred P's mastery is evident as he weaves emotive chords and subtle percussion into a harmonious blend, revealing the profound beauty found in the essence of sound. Closing the experience on the B2 side, "Vibe Science" is a sonic experiment that melds innovative sound design with an unwavering groove. This track showcases Fred P's ability to fuse artistic creativity with scientific precision, making it a standout addition to the record. In summary, "Dance of Rhythms" is a captivating journey through the realm of deep house music. With three compelling tracks, it offers a profound musical experience that will resonate with both dedicated enthusiasts and newcomers to the genre. The deep purple, translucent vinyl adds an elegant touch to the presentation, making it a collector's delight and an auditory adventure worth embarking upon..