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"10 from 6" is a 1985 compilation album by Bad Company, featuring their hit tracks like "Can't Get Enough" and "Feel Like Makin' Love." It's a fan-favorite, and has enjoyed commercial success, selling millions of copies and contributing to Bad Company's enduring popularity in the rock music scene.

"10 from 6" is a 1985 compilation album by Bad Company, featuring their hit tracks like "Can't Get Enough" and "Feel Like Makin' Love." It's a fan-favorite, and has enjoyed commercial success, selling millions of copies and contributing to Bad Company's enduring popularity in the rock music scene.

Mind Against launch their eagerly awaited imprint Habitat with a 15-track compilation titled “METAFLORA”, available as a deluxe transparent vinyl 3LP box set including a 24x12” fold-out poster.

Suitably, the compilation features new and emerging artists with whom Mind against have relationships, and recurrent motifs of subtly unsettling melodic house/techno building alternate worlds in soundscapes.

Mind Against & Sideral – ‘Criseide’ heralds this new world with portentous pounding beat/bass, the melodic synth singing beneath like beauty surviving under threat, the vocal/lyrics with an edge of alarm: ‘if you think it couldn’t happen to you…’

‘Talk To Me’ by Dyzen (who also collab’ed with Mind Against on their fabric presents compilation) has stately chords riding a prancing beat while sombre piano and sweet high vocal create a heraldic, post-apocalyptic nu-medieval world, whereas Sam Shure’s ‘Plus Ultra’ has rattling percussion, with melody like a coded message from an abandoned spaceship to which something replies in stark tones…

Marino Canal, whose debut album was released by Nicole Moudaber’s MOOD, and who has support from many big names including fabric’s founder Keith Reilly, features plangent notes veering up, down and off the scale for a disturbing effect in ‘Ample’, while Swiss duo Read The News in ‘A Place’ set a fast, kicking beat against a female voice yearning for ‘a space where I can just be’.

Remcord, often played by Black Coffee, Tale of Us and more besides MA, show us why in ‘Entourage Effect’ while Laroz gives a lively melody and raucous chords in ‘Don’t Touch’ feat. Sheera as her cool, raunchy, layered vocals come to the fore.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead), "Modern Nature" is the band's 12th studio album. Released in 2015, the album features a plethora of contributors, from drummers Pete Salisbury (The Verve), Stephen Morris (New Order) and Gabriel Gurnsey (Factory Floor) to Kate Bush's backup singers Melanie Marshall and Sandra Marvin to Sean O'Hagan's strings and Jim Paterson's horns. The album, described by Q as "one of the best of her career," debuted in the Top 10 of the UK Albums Chart. Pressed on clear yellow vinyl.

TPG long term friend and homeboy Ben Oyefeso pulls out a trio of double-jointed cuts for the club and not, the German producer's debut EP ‘Lagerfeuer’ packs that left-of-centre house punch that’s come to define the label throughout the previous ten releases and certainly more than just that. Cutting his lane at the junction of oddball party music and deconstructionist boogie, Oyefeso’s maiden sortie floats like a butterfly and stings like a bee. A weird, buzzing slab of body-jacking electronics that doesn’t play by the book.

An off-road bouncer of a track, the opening number ‘Matt’ has us nodding our heads to a high-in-vitamin mix of jacking house programming and erratic acid patterns gone astray. Knee deep in 303-marinated puddles of psychedelic squelch, Oyefeso keeps swinging the pendulum between a proper syncopated 4x4 motif’d framework and frantic digressions into an abstract-leaning headspace.

A2 ‘Kool’ opts for a further sliced-and-diced rhythmic line of action, generously infused with twisted Rephlexian phrases and sustained waves of micro-house clicking. Topping off that strange journey, the title-track ‘Lagerfeuer’ merges polyrhythmic intricacies with a forward-moving, earwormy kind of linear groove, all laced with a spooky baseline that stretches out into a purgatory of frankly eerie dissonances. Enough with the words, just jump on board Ben Oyefeso’s ghost train for a seriously tortuous, nonconformist ride across dance music’s jagged ridges and most secret crevasses.

Reach for the geiger counter - Park End comes shelling in the direction of Sneaker Social Club with some plutonium-plated, 2-stepping swelterweight gear for the grubbiest of dancehalls. All we can ascertain about the shadowy figure on the buttons for this latest release is that they’re clearly schooled in the lineage of UK hardcore, pirate radio culture and the sympathetic tenets of UKG, jungle and dubstep.

Opening up the A side, ’Same Dream’ is a claustrophobic, gnarly creeper with razor-sharp snares, growling low end and enough heads-down malaise to turn the most blissful sunrise set ice-cold. ‘The Immortality Of The Crab’ pays tribute to the fine tradition of illegal radio broadcasting and its importance for the development of rave, leaning on a staggered, mucky garage beat that smacks hard just how we like it.

On the flip, Park End turns attention to the synergy between RnB and garage with a refix of BBL Sound’s ‘BBS’, pairing the sweetest vocal chops with plenty of bitter b-line pressure, while ‘Rekt’ draws on an unnamed voice for another fission between human sensitivity and mechanised intensity. This parting shot borders on anti-anthemic by the time it reaches its peak while holding true to the pitch-black vibe creeping out around the edges of this rough diamond of an EP.

Repress with the same visual and the original lackers from one of the ebst Falcom record. A pure Hard Tribe, progressive underground EP. Enjoy !

Repress!

180gr./6p Booklet/500 Copies Moss Green Coloured Vinyl

Urban Solitude is an album by Anouk, released in 2023. Urban Solitude includes a.o. the following tracks: “In The Sand”, “R U Kiddin' Me”, “My Best Wasn't Good Enough”, “It Wasn't Me” and more. The album is a Coloured Vinyl, High Quality, Insert pop LP.

As Duke Ellington would have said, Dinah Washington was “beyond category”. Subtle and inventive enough to hold an honored place in the jazz pantheon yet tough and forceful enough to command the attention of blues, R&B and rock & roll audiences. Equally at ease performing Broadway songs, pop tunes or jazz material, Washington combined urbane finesse with down-home grit to make music that reflected her strong-willed, larger-than-life personality.

Long Hours is a solo project by Julian Medor. Long hours has been coined as being lofi, nowave, synth punk croon-core, gothdoowop with a relentless live show inspired by frontmen such as David Yow (the Jesus lizard) JG Thirlwell (Foetus) Alan Vega (Suicide). Long Hours has performed up & down the east coast of Australia countless times and has toured japan twice. He has also released 27 albums in the space of 3 years. "Never Enough" is his first LP available on Beast Records.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album,
‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.
Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.
Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave nd courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ -
‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she
enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy. It's only just begun.’
Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each
song is definitely a standstill moment.’
Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends,
relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’
Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”
And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always
figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her. She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.
While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the
world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before. ‘falling or flying’- released on September 29th

Paolo Mosca makes intricate, multi-layered electronic music. Inspired by the early club sound pushed by the pioneers from his home region Veneto, he fuses house, trance and ambient - and moves forward. The Metaphysics EP displays the artist's passion and ingenuity, unfolding technical skill that makes clear his studio clock is set to 2023 and not 1993. On "Luciddreams" a statically charged beat and organ bass work up a groove. Accompanied by a misty pad and a slow, pensive arpeggiator, it pulses towards the break: there an acid line emerges, finds its spot in the mix, and refuels the track. "Energia" draws from a bolder, more euphoric range. Hand drums, a glittering lead and airy yet restrained chords float soaked in reverb and delay. A lean bass sequence tightly keeps the rhythm as flanged claps and subtly positioned sweeps create extra movement. The second side's opener, "Under the sea" features a formant filter lead meandering within the sweaty framework of heavily gated choir pads and a frugal bassline that eventually gets layered with an M1. Modulated vocals and strokes of additional melody ensure the stereo field again gets used to its full capacity. "Acqua" is a fitting coda. Some familiar patches are deployed over a tumbling beat that takes charge of the pace from the get-go. The palette might seem bright and blissful, but as always, the track's latticework contains enough contrast for a slight feeling of melancholy to keep simmering beneath. Mosca cited his meditation routine, how it helps him materialize ideas and thoughts, as a main drive upon finishing this record. The Metaphysics EP is a ruminative work. Comprised of four explorations in deftly manipulating energy with due attention to balance and momentum, it easily flows between genres, details darting in and out, showing the artist's understanding of composition and dance music history. It is a deep-dive selection of club-oriented cuts we are excited to release on Altered Circuits.

»This River Only Brings Poison« was released in 2002 as the sixth full-length album of Chris Hooson’s Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project’s vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley or Ed Collins, »This River Only Brings Poison« turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

»Writing music for me has always been a cathartic exercise,« explains Hooson. While the instrumental pieces generally serve to express a raw sense of his internal struggles, his vocal-led songs communicate them more directly. »Those are the words I cannot say openly. It’s not that I cannot voice them in a conversation, it’s just that they only seem half-formed and not ›true‹ unless they are located within a song,« he says. What makes Dakota Suite unique is that throughout the project’s history, the music and lyrics have always had a single addressee: Hooson’s wife Johanna, whose photographs were used for the album artwork and who is featured on clarinet on »sand fools the shoreline.«

»The title of the record was something that I had said when Johanna and I first met to make her see that the journey she was considering taking would be full of love, but also come at a cost,« explains Hooson. »The songs were written at a time when I was really struggling to think I could be the person that she deserved.« In the end however, »This River Only Brings Poison« marked a turning point in Hooson’s oeuvre after highly productive time with Dakota Suite: it would take another five years until he returned with a new album. »The reason for that was that I needed to accept that she had made her choice to be with me and that was a big thing for me to get my head around,« he says.

Hooson’s highly personal approach to writing songs also has an impact on the ways in which he works with his collaborators when recording them. »The people with whom I play really need to understand how I perceive the world to be able to play what I need,« he says. »My instructions would always be things like, ›This is what the song means to me, this is what I am trying to communicate to Johanna when she hears it, so your cello, for example, needs to sound like you have noticed that the cloud is covering the sun, and the weight of the air on your skin is heavier and it has unsettled you.‹«

For this particular record, he reached out to Mooney and Kaphan as an admirer of their group American Music Club. Expecting to be rejected, he instead found himself on a flight to San Francisco together with multi-instrumentalist Buxton shortly thereafter, about to make what he today calls one of his most cherished recording experiences. After the four musicians finished the basic tracks, overdubs were added in Hooson and Buxton’s respective houses as well as Daugherty’s home studio while Hooson was visiting his old friend in Nashville.

Hooson emphasises that revisiting his older releases can be complicated. »I feel intense feelings, as every record is a diary of who I was in that period and what I was feeling. That is why having to play the songs live is always like having PTSD: I need to re-experience the event that caused me to write the song, and I do not enjoy that.« He remains, however, proud of »This River Only Brings Poison,« pointing especially to the opener »the lepers companion« as what might perhaps be his favourite song of his. »But overall I just hope that Johanna feels it spoke to her,« he says, adding that the two do not discuss his records. »For me it's enough that she is listening to the things I mean to communicate to her.«

This concert from 2016 marks the first time Heart played at London’s famous Royal Albert Hall.

To make the sold-out night even more special, the band was accompanied by the Royal Philharmonic Orchestra, who added further depth and an epic scale to Heart’s songs.

The set included hits, fan favourites and both new and reinterpreted tracks from their most recent album at that time: “Beautiful Broken”. The chemistry between the band and orchestra added a truly magical quality to a concert that will live long in the memory of those Heart fans lucky enough to have been present.

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello , flute and percussion and delivers aplenty. Listen and you will know. Sirone ( Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock,Marion Brown ... and the list goes on.

played on
NTS radio
bbc radio 3 LATE JUCTION
LAST FM
radio peng

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello , flute and percussion and delivers aplenty. Listen and you will know. Sirone ( Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock,Marion Brown ... and the list goes on.

played on
NTS radio
bbc radio 3 LATE JUCTION
LAST FM
radio peng

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

ROKY ERICKSON hat nicht nur durch seine Musik, sondern auch durch seine persönliche Geschichte Kult Status erreicht.

Ein extrem tragisches Leben, gefüllt mit Drogen, Krankenhausaufenthalten, psychischen Problemen, fraglichen Verträge mit Managern... aber auch mit enormer musikalischer Kraft und Anerkennung anderer Musiker. "All That May Do My Rhyme" wurde ursprünglich 1994 veröffentlicht. Es war das erste Album nach über 10 Jahren musikalischer Abstinenz seitens Erickson. Er nahm das Album als reguläres Studio Album auf, begleitet mit einigen der besten Musikern aus Texas. Jetzt erscheint das Album als ReIssue, als Digi-Pak mit einem 8-seitigen Booklet gefüllt mit Songtexten und einer Info zur Band.

In Flight, BNL's eighteenth studio album, retains the dry wit and keen observation we expect from vocalist/ guitarist Ed Robertson, bassist Jim Creeggan, keyboardist/guitarist Kevin Hearn and drummer Tyler Stewart, but adds a strong sense of maturing and lessons learned.

There is also a sense of joy (which is exemplified in the first single, "Lovin' Life) and appreciation. On the new single, "One Night", BNL honor "...the magical connection that happens between a whole audience and a band." Songwriter Robertson, says, "When it goes right - which it almost always does - for that 'One Night', it's a very intense connection."

In addition to the eight songs written/ co- written by Ed Robertson, the album features four songs from Kevin Hearn, (two of which are love letters to Toronto - "See the Tower" and "The Peace Lady") and two from Jim Creeggan (including "Wake Up", a co-write with the Arkells' Max Kerman). Produced by Grammy and Award-Winning producer Eric Ratz, In Flight is ready for takeoff.

WNCL Recordings is back with a series of 2-track 10” vinyl battle weapons for your record box.

Jane in Palma returns to the Cassette Library with enough bass weight to sink a ship. You know the drill by now - heavy duty cuts, not for the faint hearted.

This session, recorded at Studio Pathé-Magellan October 11 and 14, 1955 in Paris, is the first of three recordings released for the Barclay label between 1955 and 1956.

For his first recording-date in Paris Chet decided to tackle Bob Zieff’s compositions, the same ones that Dick Twardzik had picked up in a hurry at the Alvin Hotel on his way to board the liner Ile-de-France. Violonist Dick Wetmore had just recorded the eight tunes, and Bob Zieff had had just enough time to revise the arrangements. Chet neither a champion sight-reader nor a big fan of rehearsals, hadn’t yet played them in front of an audience. From that first French session only the reel referred to as a ‘production tape’ remains.

This ‘complete Bob Zieff’ gives an impression of unity that wellmatches the suite concept intended by the composer; as for “The Girl From Greenland”, its role comes as a codicil. The record of Chet’s quartet with Twardzik has now appeared in Ben Ratliff’s book “Jazz, a Critic’s Guide to The 100 Most Important Recordings” (The New York Times Essential Library); it’s a fitting mention for an album that was long-unrecognised in the the United States…

In the heart of the cosmos, a tale unfolds. It begins with "My Space," where ethereal synths weave a cosmic tapestry, guiding you through distant galaxies. As you journey further, "Satan" emerges, beckoning you to dance with the darkness itself, under the canopy of sadistic beats.

Venturing deeper into the EP, "Get Stupid" takes you to an enigmatic dimension, where gravity-defying rhythms entice you to embrace your wildest instincts. In "Yallah," the atmosphere shifts, transporting you to a mystical oasis where sonic mirages shimmer in the desert of sound.

And just when you thought the adventure reached its pinnacle, "Can't Get Enough" mesmerizes with its infectious grooves, leaving you irresistibly addicted to the sonic enchantment.

Turns out Coco Bryce is more than just a hot piece of man meat. On "My Space" this enigmatic master of sound once again harnesses the forces of the universe to craft five enthralling compositions. His boundless creativity and passion for exploration shine through in every beat, taking you on a euphonic jungle expedition like no other.

ChatGPT rated this release 5 out of 5 on Tripadvisor

Das Album "La Düsseldorf" ist das Debütalbum der deutschen Krautrock-Band La Düsseldorf. Es wurde im Jahr 1976 veröffentlicht und wurde zu einem kommerziellen Erfolg.

Es gilt als eines der einflussreichsten Alben des Krautrock-Genres und hat zahlreiche Musiker wie Brian Eno beeinflusst. „La Düsseldorf sind definitiv der Soundtrack für die 80er!“

orakelte damals David Bowie. Ihre Kompositionen waren bereits Mitte der 70er Ihrer Zeit voraus und nahmen vieles an Musik und Sound vorweg, was ein paar Jahre später Usus

werden sollte. In Berlin nahmen Bowie & Eno mit „Low“ kurz darauf ihre ganz eigene Version des Krautrock auf, die ohne La Düsseldorfs Erstling nicht denkbar gewesen wäre.



Das Album ist eine Mischung aus experimentellem Rock, elektronischer Musik und psychedelischen Klängen. Die Texte sind größtenteils auf Deutsch und behandeln Themen wie

Liebe, Freiheit und das Leben in der Großstadt. Das Album wurde von Conny Plank produziert, einem bekannten deutschen Musikproduzenten, der auch mit anderen Krautrock-

Bands wie Kraftwerk und Can zusammengearbeitet hat. Neben dem gekonnt ausufernden Titelsong „Düsseldorf“ gilt vor allem das finale Stück „Time“ als Meilenstein.



La Düsseldorf wurde von Klaus Dinger gegründet. Neben Dinger gehörten auch sein Bruder Thomas Dinger und Hans Lampe zur Band, die später mit „Viva“ (1978) und „Individuellos“

(1981) noch zwei weitere kommerziell erfolgreiche Alben veröffentlichte. Dinger gehörte mit Ralf Hütter und Florian Schneider auch zu den ersten Urmitgliedern der elektronischen

Klangpioniere „Kraftwerk“, die er 1971 jedoch bereits nach ein paar Monaten im Streit wieder verließ um gemeinsam mit Michael Rother ihre eigne (legendäre) Krautrock-Band Neu!

zu gründen.

Seit mehr als 35 Jahren sind BONFIRE der Inbegriff von "Hard'n'Heavy made in Germany". Jetzt veröffentlichen sie ihre beliebtesten Alben "POINT BLANK", "FIREWORKS" und "DON'T TOUCH THE LIGHT" als MMXXIII Re-Recording-Versionen mit einem komplett neuen Artwork! Erstmals digital bei allen Streaming-Anbietern, als farbig limitierte und nicht limitierte Vinyl und als CD-Digipack verfügbar. In ihrer Karriere sammelten Bonfire mehrere Millionen Streams und Plays und erreichten mit einer ihrer letzten Veröffentlichungen "Fistful Of Fire" Platz 35 in den deutschen Albumcharts und stiegen auch in der Schweiz auf Platz 43 ein.

Seit mehr als 35 Jahren sind BONFIRE der Inbegriff von "Hard'n'Heavy made in Germany". Jetzt veröffentlichen sie ihre beliebtesten Alben "POINT BLANK", "FIREWORKS" und "DON'T TOUCH THE LIGHT" als MMXXIII Re-Recording-Versionen mit einem komplett neuen Artwork! Erstmals digital bei allen Streaming-Anbietern, als farbig limitierte und nicht limitierte Vinyl und als CD-Digipack verfügbar. In ihrer Karriere sammelten Bonfire mehrere Millionen Streams und Plays und erreichten mit einer ihrer letzten Veröffentlichungen "Fistful Of Fire" Platz 35 in den deutschen Albumcharts und stiegen auch in der Schweiz auf Platz 43 ein.

Yoke Lore’s first full length album, Toward A Never Ending New Beginning is set to solidify Adrian Galvin as an indie pioneer, transcending beyond the genre with his unparalleled talent for captivating listeners with his distinct artistic vision and introspective lyricism. The 14-track album chronicles his journey of turning strengths into weaknesses, personal growth, and discovering who Yoke Lore truly is. It’s an album full of reflection and raw, unfiltered honesty that will most definitely connect with listeners on a deeper level. Combining electronic beats with subtle instrumentation, each song on Toward A Never Ending New Beginning is sonically diverse and thoughtfully crafted, taking listeners on a journey of self-discovery along with Galvin. Galvin views his debut record Toward a Never Ending New Beginning, as being guided by the principles of the I-Ching; an ancient Chinese divination text that maps out 64 transitions that you could possibly be going through at any time, reflected in the form of hexagrams. It is a meditation on all of the little changes he has gone through in his life: from celebrations to moments of sadness to moments of stillness. All of it is connected, all of it is related.

Five years since the release of the universally-acclaimed Omnivium, Germany's progressive metal masters OBSCURA are poised to return with their strongest and most dynamic release to date. The aptly-named Akroasis (Greek for "hearing" or "listening") draws on all the various elements of OBSCURA's signature sound and combines those qualities into a mind-blowing and cohesive whole. Produced by the band and V. Santura (Triptykon, Pestilence), Akroasis is eight songs diverse enough to serve as a near-comprehensive introduction to all of extreme metal. Packed to the gills with virtuosic musicianship, compelling themes, and airtight songwriting, OBSCURA will undoubtedly breathe new life into death metal, progressive metal and beyond.

Named after the fictional character created by James Thurber-- popularized by Ben Stiller in 2013's The Secret Life Of Walter Mitty--Hayes has always channeled his thoughts and emotions through that character, rather than write about himself directly. "I really related to the character of Walter Mitty," says Hayes. "He's known for daydreaming too much and being lost in his head, which has been accurate to the Walter in my songs.

But really it's all just a cover up because back in those days we were still on family computers and I didn't want anybody to see songs by Dustin Hayes on iTunes." The band released a number of EPs and albums before going on something of a hiatus in 2015. But the creative itch was something Hayes couldn't stop scratching, and in 2016 he reformed the band as Walter Etc., the idea being to allow members to come and go as they please, weaving in and out
of records as life and schedules allowed.

Now, though, Walter Etc. have returned with When The Band Breaks Up Again, a new album made by the original three members with a very telling title. "The three of us got into music together via Green Day and more '90s pop-punk and skate punk stuff," explains Hayes.

The elusive Hackney basement dweller Alpha Delta colloquially known as Alpha D drops his debutsingle “The Moat” as the very first 12” output on the mysterious new hybrid Berlin++Sydney based label Delphic Iris Records. The headline single inspired by a faithful rave session in Croatia whereAlpha D was simultaneously emotionally touched, scarred and sonically pummelled by kick drums ata wild and stormy Dimensions Festival.
This dark techno beast was the aggressive, distorted acid offspring of that faithful night ravingbetween the mud and tears of the crowd at the formidable Moat stage at Punta Christo. His OG Mixis classic 132bpm heavy pounding acid techno at its moodiest. In the Remix department we have support from the entire Delphic Iris Records crew on this one. Afitting introduction to the labels sound. Sydney based Drox of Analog Cabin fame has a low end electro bass bin rattler for us that delvesinto melancholic and psychedelic 303 territory, deep, minimal and functional a perfect mid setgroover in our opinion. Critical Automator takes us on a deep and elegant techno journey transcending both murky seasand lush hazy skies in his dub mix. Definitely dialled back from the OG mix but there is no shortage ofkick drum energy in this one. 16 Faces cooks up complex drum work and funk driven baselines in a hybrid 146 bpm number that’sa just a touch rave, grime and idm in his 5am mix. The off beat stabs and euphoric strings areplentiful, more than enough to get your through any wobbly kneed sunrise.

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

Watch The Sun is the next studio album from the acclaimed musician, PJ Morton. Following a prolific and remarkable creative run that saw 5 consecutive years of GRAMMY Nominations and 6 LPs since 2017, Watch The Sun aims to take a step back from it all. Looking to escape from outside noises and influences, PJ Morton chose to record in the secluded and storied Studio In The Country, where Stevie Wonder worked on 1979’s Journey Through The Secret Life of Plants, and artists like Allen Toussaint, Betty Davis and Dr. John have all recorded. Featuring the previously released “Please Don’t Walk Away,” & “My Peace,” the album is set to be his biggest and most anticipated release to date, delivering one of the most expansive sonic palettes he has ever developed as producer. Watch The Sun includes appearances from JoJo, Mr. Talkbox, Chronixx, Stevie Wonder, Nas, Wale, Jill Scott, Alex Isley, El Debarge, Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel 'MusiqCity' Walls.