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In 1975, Michael moved from Tucson to Los Angeles to study with Emilie Conrad at the Continuum Studio. Emilie had ‘live’ music for her ‘movement meditation’ classes, and Michael began performing with Fred Stofflet, Gary David, and Don Preston. Ancient Leaves (25:43) was Michael’s first album, recorded in 1976/77 with a Mini Moog synthesizer and a Finish lap harp (Kantele) onto 4 track tape. To the other instruments, Michael added Emilie chanting, an ascending choir with Susan Harper and Linda Olsen vocalists, Gregorian Chants and a night ambience recorded in the desert outside of Tucson, Arizona, his hometown. It was initially released on LP and cassette. The ‘B’ side, Elysian E (23:13) was performed with an Arp String Ensemble played through an MXR digital delay, one of the first, then slowed to half speed. To this he added Moog and EML synthesizers, The Beam and his voice.

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

Everyone knows the story of American disco.
But few are aware that, between the late 1960s and the late 1980s, Italy wrote a parallel one — spontaneous, surprising, and incredibly creative.

It is a story that spans two distinct seasons: the Italian disco of the 1970s — melodic, handmade, sometimes naïve yet always original — and the emerging Italo Disco of the 1980s, electronic, futuristic, and lightheartedly projected toward the future.
Two different languages, yet both driven by the same desire for freedom and modernity. Discoteca Sound — Italian Discoteca Underground 1975–1986 brings together 18 rare tracks — including two previously unreleased — that tell this story of transition: from the orchestral and sentimental disco of Italian dance halls to the synthetic and visionary sound of the first drum machines.
A journey through private archives, local labels, regional studios, and forgotten voices — the sonic map of a country that has always danced, but to its own rhythm. From Mediterranean disco to the first Italo Disco, from the dim lights of provincial dance halls to the early home synthesizers, each track opens a window onto an Italy that dreamed of the dance floor as a universal language of connection during the brief season of revolutionary utopias.

This compilation celebrates ten years of work by Disco Segreta — a decade dedicated to the research, recovery, and appreciation of Italian disco and electronic culture. An act of justice owed to all those artists who had their moment yet were never remembered by history — bringing back to light an essential, still too little known part of our musical heritage.
Because dancing today remains, more than ever, a living act of memory.

Limited edition 2LP, features 2 previously unreleased tracks and a new 2025 version of Coscarella & Polimeno – Station to Station.






f Grazia Vitale – Poi (1975) Previously Unreleased










q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased






f Grazia Vitale – Poi (1975) Previously Unreleased










q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased






f B2. Grazia Vitale – Poi (1975) Previously Unreleased










q D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]






[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]










[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]






[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]










[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]

The representative work of Khsuke Mine, the powerful album "Daguri," originally released in 1973, is reborn in January 2026!
Kosuke Mine, having gained recognition in the Masabumi Kikuchi Group, recorded this work with his regular ensemble. Featuring emerging musicians including
Fumio Itabashi,
the performances are both weighty and vibrant, with a momentum and clarity that suggest the dawn of a new age. During this period influenced by Coltrane, Mine’s
playing brims with insight and scale, delivering transcendent melodies in tracks like "Thirsty" and "Daguri." With its combination of dynamism, lyricism, and exoticism,
this is truly a work worthy of being called one of Mine’s masterpieces. All tracks are composed by Mine himself. Recorded in 1973.

With this new 7"", Orchestre Tout Puissant Marcel Duchamp continues to blur musical boundaries through bold collaborations. On one side, Revenant du Nord - co-written with Frànçois and the Atlas Mountains - weaves stories of migration, Moroccan memories, and layered polyrhythms into a swirling orchestral movement. On the flip side, Siilent, composed with Jo Burke, dives into darker dub territory, inspired by a late-night Geneva dancefloor and shaped by the ensemble"s signature instrumental finesse. Two tracks from different roots, united by the same drive for organic power and musical vertigo.

Commemorate's self-titled debut album blends swirling guitars and dreamy vocals to create a hypnotic yet weightless sound, a longing that swells and fades gently. Emerging from Kuala Lumpur's hazy musical depths, Commemorate is a 5-piece ensemble creating their own ethereal soundscapes, while taking heavy influences from shoegaze titans and infusing modern dreampop with post-rock sensibilities. Available in clear and black vinyl.

Zeitkratzer director Reinhold Friedl and his ensemble present new compositions, grounded on Domenico Scarlatti's piano sonata F-minor K.466. Commissioned by the dance company Rubato and dedicated to Mario Bertoncini (1932-2019).

Little is known about Domenico Scarlatti (1685-1757). His music is, so to speak, left to its own devices: free, cheeky, playful, sonorous, surprising. Harmonically strolling again and again into unforeseen regions, the ear leads, not the theory; and also the fingers get their right: playful and haptic it goes. Scarlatti explained, "since nature has given me ten fingers and my instrument provides employment for all, I see no reason why I should not use all ten of them."

Freedom, friction and listening pleasure instead of convention: "He knew quite well that he had disregarded all the rules of composition in his piano pieces, but asked whether his deviation from the rules offended the ear? He believes there is almost no other rule than that of not offending the only sense whose object is music - the ear."

Reinhold Friedl applied this principle and composed the music for a choreography by dance company Rubato. Dance music drawn from Scarlatti, who was so inspired by dance music. The material of the piano sonata F-minor K.466 is twisted anew in all its richness, shifted back and forth, declined, frozen, noisified, sound structures extracted, floating. Those who know the sonata, will more than smell it’s shadows. Dedicated to Mario Bertoncini (Gruppo di Improvvisazione Nuova Consonanza) who was particularly fond of K.466, on which all the music presented here is grounded.

"Wild flowers", Barbara Zubers had once called Scarlatti's music. Let them bloom.

‘No Fixed Point In Space’, the third full-length album by Jack Cooper’s Modern Nature, takes the palette of sound and themes that were honed on 2021’s ‘Island Of Noise’ and launches them into an expansive world of openness and vivid technicolour.

It’s a music that hasn’t been heard before; as melodic as anything Cooper has produced but framed by rhythms and instrumentation that reflect the chaos, unpredictability and colour of the natural world.

Certain moorings - woodwind, percussion, strings and Cooper’s lambent voice - are still present and recognisable from No Fixed Point In Space’s predecessor, ‘Island Of Noise’, but the new record marks a shift to utilising musical notation as a point of departure, from which the group explore the space around suggested notes and rhythms to create a semiimprovised, semi-composed ensemble performance.

These explorations of partly organised chance were recorded live and directly to tape.

This approach gives the music a remarkably fresh feel; songs pulse and evolve. The changes between movements, verse and choruses are almost all ambiguous. During the album’s opener, ‘Tonic’, a verse of hushed brevity washes away into a passage of overwhelmingly vibrant orchestration.

CD in four-panel digisleeve with 10-panel booklet with lyrics. LP pressed on 140g black vinyl with printed inner
sleeve and stamped postcard.

Babylon, der über zwei Stunden Originalmusik enthält, ist ein originelles Epos, das im Los Angeles der 1920er Jahre spielt, mit Brad Pitt, Margot Robbie und Diego Calva in den Hauptrollen und einem Ensemble mit Jovan Adepo, Li Jun Li und Jean Smart. Der Film ist eine Geschichte von übergroßem Ehrgeiz und unverschämten Exzessen, die den Aufstieg und Fall zahlreicher Charaktere in einer Ära ungezügelter Dekadenz und Verderbtheit im frühen Hollywood nachzeichnet. Der Soundtrack besteht aus 48 Musikstücken von Oscar-Preisträger Justin Hurwitz (La La Land).

The capstone of Miles Davis’ electric period, Agharta reigns as a funk-rock fireball — a blazing comet streaked energy and elan, a fearless organism feasting on adventure and freedom, a seven-headed Godzilla stomping its way through Osaka, Japan. Recorded on February 1, 1975 at Osaka Festival Hall at the first of a two-show stand, the double album offers an endless abundance of surprises and shifts — as well as a road-proven ensemble whose chemistry and abilities equal that of any of Davis’ celebrated bands. If the true measure of jazz is the capacity to adapt to the moment and challenge perception, Agharta is consummate.

Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set of this epic live release presents it in audiophile sound on a domestic pressing for the first time. Offering greater degrees of separation, detail, and richness than the compressed CD editions and more clarity, openness, and presence than older vinyl copies, this version of the 1975 release helps bring the concert stage to your home. Just make sure your turntable and speakers are up to the challenge of Davis and Co.’s explosive performances — and producing the decibels they demand.

Teeming with vibrant colors, tones, and pace, Mobile Fidelity’s reissue captures the hear-it-to-believe-it flow, sweep, and moodiness of the music. Though the group honors looseness and freedom with religious verve, the specificity and scale rendered by this remaster allows you to detect methods behind the alleged madness that are often otherwise harder to discern. This insight extends to the understated changes in volume, harmonics, and phrasings. In many ways, you can listen as Davis himself did that early February evening as he helped coordinate the overall direction and decided on whether to blow his wah-wah-wired trumpet or take a turn on the organ.

Tellingly, Agharta would likely never have been made if not for Davis’ ventures overseas and, specifically, to the Land of the Rising Sun. Having for years faced a backlash on his native soil for his choices to experiment and blow past all known borders, Davis was welcomed with open arms in Japan. The concert documented on Agharta — as well as the day’s later show, captured on the equally exciting Pangea — stemmed from a sold-out three-week tour that would ultimately mark Davis’ final public appearances for years, as he soon settled into semi-retirement and nursed the wounds connected to an unprecedented stretch of restless and relentless output.

For all the band-fueled merit of Agharta — and there’s plenty, given the cast of saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, and guitarists Reggie Lucas and Pete Cosey seemingly blasts off to outer space and travels distant galaxies by the time this minimally edited record runs its course — Davis’ own playing often remains overlooked. As critics Richard Cook and Brian Morton observed, it is “often fantastically subtle, creating surges and ebbs in a harmonically static line, allowing him to build huge melismatic variations on a single note.” He attacks like a man on a mission, out to prove naysayers wrong and bent on trailblazing another new path forward. Convention and skeptics be damned.

Noisy and furious, dark and discordant, abstract and off-balance, radical and intense, abrasive and atmospheric, strangely beautiful and hypnotically eccentric: Agharta evades simple description, and refuses to be pinned down in any established category — rock, jazz, punk, ambient, prog, avante-garde, or otherwise. Shot through with trench-deep grooves, screaming riffs, scalding solos, and free-improv leads, its cosmic thrust comes on as the equivalent of an animated pointillist painting comprised of millions of textured dots, dashes, and dabs that hold your attention so raptly you want to revisit the ideas again and again.

Always steps ahead of everyone else, Davis knew what he was doing even when Agharta debuted in Japan before later hitting U.S. markets. Though “Maiysha” and “Theme from Jack Johnson” are identified in the track listing, the record contains a number of uncredited references to other Davis works, including a nod to “So What.” This decision to bypass labels only adds to the art of the reveal — the rare black magic in which Agharta expertly deals.

The scottish singer-songwriter and multi-instrumentalist James Yorkston and the english guitarist with a fluid fingerpicking touch, David A. Jaycock, already played together in the first formation of the experimental folk ensemble Big Eyes Family Players. Their encounter with Swedish saxophonist Lina Langendorf gives rise to a little gem of pure acoustic candour, perfectly balanced between chamber avant-garde and neo-folk. As on an endless autumn evening in front of a lake in Finland or Estonia, the trio's nordic soul creates atmospheres that recall hidden nostalgia. In a process of rarefied sound matter, elegiac paintings spring up, moments that flow slowly and silently in a tension that is always suspended and unresolved. Soft, crepuscular passages, at times sharp and cold guitar, but also the velvety breath of the nickelharpa, combine with a saxophone that still blows dramas of distant Norwegian fjords, but can also become more Mediterranean and arabesque. The music becomes like a warm warmth around the fire, reflecting a hidden twilight zone of the soul, in a quiet, gentle whisper between poetic abstraction and arpeggiated themes of more recognisable narrative melody, typical of a certain Northern folklore.
Co-Release with We are busy bodies.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

Gagaku is the oldest of the Japanese performing arts, with a history more than a thousand years old. The term refers to Japanese classical music and dance, traditionally performed by families of musicians linked to the ancient Imperial court, and later passed down in Buddhist temple ceremonies and Shinto shrines. Shiba Sukeyasu, founder and director of the Reigakusha ensemble, descends from the Koma clan, whose origins date back to the end of the 10th century. The recordings partly reflect repertoires borrowed from Chinese music between the 5th and 9th centuries. The incredible variety of timbres of the instruments greatly amplifies our exotic imagination: the eternal breath of the flutes (ryuteki and hichiriki) creates a sort of suspension of time, together with the hypnotic and hallucinatory atmosphere of the mouth organs (shō). The meditative tone of the string instruments (bika and koto) that punctuate the voids and silences is impressive, as is the enigmatic percussion section, with the tolling of the gong (shōko) and the calibrated beats of the drums (taiko and kakko).

James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

Santa Fiebre return with a new 45 on Acid Jazz’s Fingier Records, with producer Kevin Fingier at the helm. The Argentine Rhythm & Soul outfit turned heads with their label debut last year, double-sider ‘Earthsplosion’ / ‘That’s Where We Go’, and here they offer two new, explosive original sides.

Over the past few years, Kevin Fingier has released a series of hard-hitting, high-selling 7” singles, on his own Acid Jazz-group imprint, along with a compilation LP and an original album. He is known for his authentic 60s R&B sound, with a distinctly Latin touch. ‘Waterfalls’ sees Santa Fiebre move into funkier, late-60s territory, with a percussive beat and driving horns accompanying a wonderful, soulful vocal.

Meanwhile, ‘Pain of Sights’ is a characteristic Soul/R&B crossover smash, guaranteed to hit at a club night. Another modern classic from the man in Buenos Aires and this brilliant ensemble.

Presented in the signature Fingier Records house-bag.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to thesesongs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to these songs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

Vinyl gatefold jacket includes a 12x12 insert reproduction of the original LP jacket art.Recorded in 1956 and released in 1957, Supersonic Jazz is arguably the first long-playing album by Sun Ra and His Arkestra on his Saturn label. However, it was not recorded as a debut. Rather, the album was assembled from tapes recorded during a number of sessions at two Chicago studios (RCA Victor and Balkan), and several tracks had been released as singles before their inclusion on this album. (Sunny's first fully realized commercial album was 1957's Jazz by Sun Ra, produced by Tom Wilson on his short lived/soon to be defunct Transition label.) Prior to these sessions, Sunny was still arranging for the Red Saunders Orchestra and singer Joe Williams, in addition to arranging for and coaching doo-wop ensembles. As Sunny's ambitions achieved liftoff, the Arkestra coalesced, began building a repertoire (mostly of Ra's originals), and making forays into studios. Deciding it was time for commercial releases, Sunny and business partner Alton Abraham launched Saturn (sometimes called El Saturn) as a record company in 1956. As a first offering, Supersonic Jazz is a pinnacle Sun Ra release. While reflecting many prevailing bebop, Latin, and R&B conventions of the mid-1950s, it's evident that Sun Ra's musical voice and vision were starting to propel him away from the jazz mainstream. Biographer John Szwed finds on these recordings "characteristics which seemed alien to swing, bebop, or the new, more soulful and hard-edged music which was coming to be called hard bop."

The Tedeschi Trucks Band is an 11-piece ensemble made up of guitarist-vocalist Susan Tedeschi's and guitarist Derek Trucks' band,
known for their unique mix of rock, blues, gospel, soul, and Americana. Their 2011 debut album won them the 2012 Grammy Award
for Best Blues Album and since then have released four more studio albums and three live albums, of which this is their first.

The songs on this album are compiled from recordings made on three tour dates in October 2011 and feature tunes from their debut
album rearranged, expanded, and extended in true jam band fashion. But, they never seem to resort to clichés; guitar prodigy
Derek Trucks introduces the bands’ hit “Midnight in Harlem” by an Indian raga played as a slide guitar solo, just to give an example.

Stevie Wonder’s “Uptight” furthermore showcases their love for soul and jazz. In short, as one reviewer put it succinctly:
“Everybody's Talkin' is what every live album should be: an accurate, exciting reflection of a hot band playing full-throttle.”
Everybody’s Talkin’ is available as a limited edition of 1500 individually numbered copies on red coloured vinyl.

YES! We are a "BIG BAND"!!
A 20th anniversary original album featuring new members has been released on a two-disc vinyl set.

Formed in 2005 at the invitation of pianist Makoto Ozone, whose work transcends genres and continues to thrive on a global scale, the 15-member big band
"No Name Horses" has grown into a one-of-a-kind big band, thanks to its sophisticated ensemble built on longstanding relationships of trust, the diverse
original compositions of Ozone and the other members, and its boundless creativity and playfulness. The band has performed both in Japan and overseas.

In 2024, the band changed its name from "Makoto Ozone featuring No Name Horse" to "Makoto Ozone No Name Horse," and began activities under a new
lineup with the addition of three new members: Hidetaro Matsui, Yu Riku, and Shinpei Ogawa. This is the first album since the new lineup was released in
November 2024.

Returning to the classic big band sound, this album was created with each member contributing a new song, based on the concept of a superb swing and resonance.

Makoto Ozone "No Name Horses"
Makoto Ozone (p, org) Eric Miyashiro (tp, flh, picc trp) Akira Okumura (tp, flh) Shutaro Matsui (tp, flh) Yoshiaki Okazaki (tp, flh) Eijiro Nakagawa (tb)
Marshall Gilkes (tb) Junko Yamashiro (b-tb) Masanori Okazaki (as, ss, cl) Atsushi Ikeda (as) Toshio Miki (ts) Yu Riku (ts, fl) Yoshihiro Iwamochi (bs, cl)
Shinpei Ogawa (b) Shinnosuke Takahashi (ds)

Als Rudy Van Gelder noch das kleine Tonstudio nutzte, das er sich im Haus seiner Eltern in Hackensack,
New Jersey, eingerichtet hatte, wich Blue Note für Aufnahmen mit größeren Ensembles eine Zeit lang
in den Ballsaal des Manhattan Towers Hotels in New York aus. Im August 1957 und im Februar 1958
schmiss Hammond-Organist Jimmy Smith dort mit zwei unterschiedlichen All-Star-Bands seine boppigbluesige “House Party”. Bei denselben Sessions entstanden auch die Aufnahmen für das Nachfolgealbum
“The Sermon!”.

Silva Screen Records präsentiert „Music from The Crown“, ein mitreißendes neues Album, dass die Emmy-prämierte Netflix-Serie mit frischen orchestralen Interpretationen ihrer einprägsamsten Melodien feiert. Aufgenommen vom renommierten Ensemble London Music Works und mit ausdrucksstarken Cello-Soli von Nick Squires, umfasst die Sammlung die Hauptthemen und wichtigsten musikalischen Momente aller sechs Staffeln und zeichnet die Reise der Krone von der jungen Elizabeth II. bis zum Ende ihrer Regierungszeit nach.

Diese neuen, für ein volles Orchester arrangierten und mit modernem cineastischem Glanz versehenen Versionen würdigen den musikalischen Ton von „The Crown“ und verleihen den prägnanten Themen von Hans Zimmer, Rupert Gregson-Williams und Lorne Balfe die Unmittelbarkeit eines Konzertsaals. Hans Zimmer ging das Projekt mit dem Gewicht eines Spielfilms an und erkannte die weitreichende Vision des Schöpfers Peter Morgan. Rupert Gregson-Williams erinnert sich an lange Gespräche, in denen der majestätische und doch zurückhaltende Ton des ersten Themas festgelegt wurde, während Lorne Balfe betont, wie die Filmmusik mit Königin Elizabeths Entwicklung von der Unschuldigen zur Monarchin mit gereift ist. Als Martin Phipps in Staffel 3 das Ruder übernahm, schuf er ein Gleichgewicht aus Respekt vor dem Bestehenden und einer frischen musikalischen Identität, die die neue Ära der Serie widerspiegelte.

Strolling through the world by Biboul Darouiche & The Bantu Jazz Connection marks the first vinyl release on Crispy Water and is a vibrant fusion of African rhythms, jazz improvisation, and soulful storytelling, blending ancestral rhythm with contemporary jazz expression. Recorded with an ensemble of outstanding musicians, the album moves effortlessly between groove, spirit, and freedom — connecting continents through sound.

BIBOUL DAROUICHE is a singer, percussionist, composer and head of the ensemble. By playing the conga, djembe, calimba and - the African treetrunk drum (also called nkul or tam-tam, which by the way should not be missing at any concert!) Darouiche brings a very special color to his music. He works mainly in Europe, but his engagements also take him to the Middle East, the countries of the CIS, Brazil and the USA. Since1995 he has been a member of Klaus Doldinger's Passport. He has also worked with musicians such as Al Di Meola, Pee Wee Ellis, Roy Ayers, Graham Haynes, Paquito D'Rivera and the Jazz Baltica Ensemble.

The Austrian multi-instrumentalist and producer MICHAEL HORNEK, who is part of the permanent cast of Klaus Doldinger's Passport as a keyboardist, plays keyboards, percussion and sings. His free-jazzy percussive playing inspires every listener. Hornek's keyboard skills can be heard on over 750 music productions, and the trend is of course increasing!

Mauritian bassist LINLEY MARTHE is one of the world's best bassists. He was a long time permanent member of the band Joe Zawinul Syndicate,worked with musicians like Dave Liebmann, Richard Galliano, Omar Hakimand many more. Zawinul said of Linley Marthe in an interview: “Linley is a phenomenon. I don't know if anyone can match him in terms of bass playing."

ROGER BIWANDU, french musician born and raised in Bordeaux/France, with roots from Congo (DRC) is an artist resident at l'Apollo bar in Bordeaux since june 1997, he plays there one time per month. He played with a lot of great musicians all over the world, with some heavy weights too, like Joe Zawinul, Salif Keita, Marcus Miller, Lee Ritenour, John Beasley, Dee Dee Bridgewater, Franck McComb, to name a few.

Ston Elaióna is John Also Bennett’s first album for Shelter Press since his 2019 solo debut Erg Herbe. The American born, Athens, Greece, based flautist, synthesist, and composer weaves a strikingly singular electroacoustic excursion for bass flute and Yamaha DX7ii, largely recorded in the golden haze of the early morning hours - bending time at the otherworldly juncture of consciousness and place. Translating from Greek as “in the olive grove”, Ston Elaióna is permeated with the ambiences of the ancient and present world, guided into form by a playfully rigorous approach to sound.
Initially emerging during the mid 2000s as part of Columbus, Ohio’s noise scene, before relocating to NYC around 2010, Bennett’s diverse activities picked up an increasing sense of pace over the following decade - performing and recording as a solo artist (JAB), with the trio Forma and with CV &JAB, his prolific duo with his partner Christina Vantzou, as well as playing in Jon Gibson’s ensemble among many other multifaceted collaborations. However, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, extensive tours, and Greece, where he finally came to rest in Athens last year.

Drawing upon a carefully honed attentiveness to the environments and experiences of everyday life, Ston Elaióna is a suite of nine pieces (with an additional track exclusive to physical formats), many of them composed and played live as the early morning sun touched the Parthenon, in full view from Bennett’s studio window in Athens. Bennett’s refinement and restraint, honed over his years adrift, led him to adopt a limited palette focused on his primary instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to just intonation scales. Alongside a handful of other keyboards, digital oscillators triggered by his flute, and occasional field recordings, this simple palette is reflected by the deeply emotive sense of minimalism that permeates the album’s two sides. Following two solo albums defined by outward facing temperaments - 2022’s Out there in the middle of nowhere (Poole Music), which used a lap steel guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely synthetic atmospheres of the 2024 anthology Music For Save Rooms 1 & 2 (Editions Basilic) - the shift in Bennett’s worldly circumstances offered an intuitive return to the calm, inward states of creative exploration that have historically defined JAB’s sound. In parallel, context provided clear sources of inspiration for many of the album’s themes, as well as sources for some of its sounds. The aura of Greece, from the ancient to the present, from its stones and olive groves to its traffic, figures heavily across Ston Elaióna’s two sides. John Also Bennett’s Ston Elaióna forms an elegantly rigorous world of electroacoustic sonority, bridging the expanse of time with the immediacies of environment and happening in the here and now: a profound sonic mediation on the countless dimensions unlocked by life in Greece.

Cosmic Romance proudly presents "Amour Propre", the new album by Berlin-based multinational band Stella & The Longos and 5 release on the label.

Following the acclaimed 2022 release "Détends-Toi", the first electrifying collaboration between lead singer Stella Zekri and producer Ed Longo, "Amour Propre" crowns two years of relentless touring, growth, and evolution. On the road, the duo forged a powerful live ensemble of Berlin’s finest musicians. That synergy now explodes onto record, expanding Stella & The Longos’ sound into something more organic, daring, and deeply alive.

On "Amour Propre", Stella’s sultry, magnetic voice weaves through lush layers of live drums and percussion, funky guitar riffs, shimmering keyboards, intricate brass lines, and the unmistakable hi-fi production flair of Ed Longo. The rhythms oscillate in a melting pot of musical styles, where Afro-Caribbean influences overlap with vintage boogie beats and quelching synths flirt with smoky Parisian midnight moods. Stella’s voice remains the heart of it all, sensual, husky, and brimming with raw emotion. Her lyrics explore love, longing, and reflection, while also capturing moments of dancefloor euphoria and universal connection.
With The Longos as her powerhouse backing band, every track radiates the energy of a live performance: intimate, enchanting, and unforgettable.

Aufgewachsen in der Soundsystem-Kultur des englischen Leeds, kaufte sich George für einen Fünfer - mit freundlicher Genehmigung seiner Mutter - eine alte, ramponierte Lautsprecherbox, die er "Echo45" nannte. Über diese Box lernte er Kevin Harper kennen, ein Gründungsmitglied von Nightmares on Wax – eine zufällige Begegnung, die sein Leben verändern sollte. Mit dem neuesten Nightmares On Wax-Release "Echo45 Sound System" führt er diese Tradition nun einen Schritt weiter und liefert ein Mixtape ab, das sich wie eine Feier und ein Bekenntnis zugleich anfühlt. Ein lebendiger Soundsystem-Trip, inspiriert von der originalen Echo45-Lautsprecherbox, der mit furchtlosem Spirit Soul, Roots, Hip-Hop, Dub und elektronische Texturen verbindet. Mit einem sorgfältig zusammengestellten Ensemble von Kooperatoren – darunter Yasiin Bey, Greentea Peng, Sadie Walker, Oscar Jerome und Liam Bailey – spiegelt die LP nicht nur die Vergangenheit von Nightmares On Wax wider. Obwohl es tief in seinen Ursprüngen, der Soundsystem-Kultur und dem Piraten Radio verwurzelt ist, verkündet es mutig, wohin George geht. Limitierte Auflage auf goldfarbigem Doppelvinyl.

A meeting of worlds. A new kind of resonance. GODTET's upcoming release captures the alchemy of their landmark performance with the Sydney Symphony Orchestra at the Sydney Opera House.

At once bold and nuanced, this album explores the friction between improvisation and orchestration. Where the orchestra is anchored in fully composed material, GODTET remains free – navigating the work's harmonic architecture with instinct and spontaneity. Structures are fixed, but expression is fluid.

Orchestrated and brought vividly to life by Novak Manojlovic, GODTET's long-time collaborator and musical polymath, the work bridges the worlds of bedroom production and classical tradition. His arrangements offer not just translation but transformation. Amplifying the ensemble's rhythmic language through the rich sonic canvas of the Sydney Symphony Orchestra.

The result is a deeply textural suite that amplifies the best of both disciplines: GODTET's idiosyncratic groove and live sampling artistry converging with the symphonic weight and colour of the Sydney Symphony Orchestra.

Under the baton of Nicolas Buc,GODTET + The Sydney Symphony Orchestradoesn't just blend genres, it dissolves hierarchies. It's a declaration that music born in warehouses and bedrooms can belong in concert halls, and that authenticity transcends format. This is GODTET in full bloom, expansive, fearless, and profoundly moving.



a 01: New Sun (Live) feat. The Sydney Symphony Orchestra & Novak Manojlovic
b 02: Stepper (Live) feat. The Sydney Symphony Orchestra & Novak Manojlovic
[c] 03: The Fall Line (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[d] 04: Dub Angels (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[e] 05: Cantus (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[f] 06: Bliss Angels (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[feat. The Sydney Symphony Orchestra & Novak Manojlovic]

Out Friday 14th June, the renowned jazz and funk trumpeter Sefi Zisling presents his third album ‘The Librarian’, blending classic elements with psychedelic funk, soul, and spiritual jazz. ‘The Librarian’ is dedicated to all things close to Sefi’s heart. The album pays homage to his musical inspirations, his wife, friends, and Eyad, a Palestinian whose story moved Sefi.

"This album was made as an ode to the people I love, and I would like to dedicate this album to them." - Sefi Zisling

Sefi Zisling first started playing the trumpet at the mere age of ten, soon after enrolling in the prestigious art school Thelma Yellin. Performing in an array of bands since his early teens, Sefi has performed and recorded sessions with almost every key player of the jazz world in Israel. His debut album ‘Beyond The Thing I Know’, released on Tel Aviv’s leading collective Raw Tapes, propelled the trumpeter onto the world stage. Sefi then found his home on Tru Thoughts for his sophomore record ‘Expanse’, an album that captured the essence of the classic jazz session and transformed his role from instrumentalist to composer.

The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene and are respected worldwide. Walid aimed to highlight the expropriation of Palestinian land by the Israeli state and centred his artistic career on safeguarding a disappearing landscape through his monochromatic etchings.

Selling Points
Sefi Zisling's sophomore album "Expanse" sold out on vinyl in the first few months
The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene
Praise from Jazz FM (Playlisting), FIP, Jamie Cullum (BBC Radio 2), Jazz Times, Jazziz, Tom Ravenscroft, Huey Morgan, Cerys Matthews (BBC 6Music), Musica Macondo, Music Is My Sanctuary, Bandcamp Weekly, Wax Poetics and much more.
Recorded intimately and live with a five-piece ensemble
The LP features a spellbinding version of Mall Waldron's jazz standard 'All Alone'
Mixed by renowned engineer George Atkins (80 Hertz Studios)

Poetry and music in an annually changing Frisian-international ensemble — that’s IT DEEL, a residency project by the Kleefstra brothers. After three previous sessions and releases with Jacaszek, Eivind Lønning & Espen Reinertsen, and Karen Willems, this beautiful project finds its conclusion with a fourth collaboration.
In the summer of 2024, the Kleefstras invited cellist Joana Guerra and violinist Maria do Mar de Brito Lopes for a week-long creative residency at a special location: the Thomas Church in Katlijk.
Like with the previous releases from the IT DEEL collaborations the central theme of for this work is the relationship between humans and nature, in all its beauty and complexity. It’s not a light topic, but one that is universal and deeply connecting. Each year, it’s remarkable to witness what has emerged from the Frisian soil in the dialogue between the Kleefstras and their guest musicians.

Following his award-nominated and critically acclaimed 2023 album Until Then, Danish guitarist and composer Rasmus Oppenhagen Krogh now presents his fourth album as a bandleader. "The title refers to the pillars that life and existence rest on," Krogh explains. "The moments, feelings, and meetings that form us as human beings, and that follow us the rest of the way. Snapshots that become defining for how our life develops." Musically, Pillars balances clear song structures with rich, intricate harmonic foundations. Krogh draws on influences from jazz, indie, rock, film scores, electronic music, and pop, creating a genre-fluid universe in which the ensemble"s improvisational voices shape each piece. Krogh"s guitar takes the lead, acting as a melodic guide, while the production - crafted alongside longtime collaborator Rasmus Juncker (Yör, Anna Roemer, Little North) - adds depth and texture, highlighting the album"s bold and multi-faceted sonic identity. As on previous releases, Krogh is surrounded by some of Denmark"s finest musicians, all longtime collaborators whose personal voices and improvisational approach have deeply influenced his musical development. The ensemble includes Anders Christensen on electric bass (Paul Motian, Jakob Bro, The Raveonettes), Jakob Hoyer on drums (The Raveonettes, Jakob Bro, Nikolaj Norlund), Lars Greve on reeds and effects (Resonerede Rum, Girls in Airports, Peter Sommer), Simon Toldam on piano and synths (Simon Toldam Trio, Han Bennink Trio, Efterklang), and Victor Dybbroe on percussion (Girls in Airports, Teitur, Blomsten). Their interplay and openness create a living, evolving sound world, with Krogh"s guitar at its emotional center. Beyond his own projects, Krogh is a sought-after guitarist, working with artists ranging from Guldimund to Takykardia and Emil de Waal. Pillars underscores his identity as a deeply personal and forward-looking voice in contemporary instrumental music.

With the grace of an ancient oracle speaking through a veil of mist, the album unfurls in movements both haunting and divine, carrying the listener into a realm where sorrow and splendor waltz as one. Orchestrated with exquisite precision and opulent depth, the ensemble breathes life into every measure. Strings sweep like celestial tides, choirs rise like prayers from cloistered ruins, and woodwinds whisper secrets from lost mythologies. The multimember orchestra does not merely accompany the compositions, it becomes the very vessel through which Autumn Tears channels their clairvoyant vision.

Rooted in the neoclassical tradition yet unbound by its walls, the album weaves baroque intricacies with cinematic grandeur, crafting soundscapes that feel both sacred and boundless. Every track is a portal: to forgotten dreams, to veiled futures, to the silent poetry that lingers in the spaces between. Crown of the Clairvoyant will be available as a digital download,a limited Leather CD Box, a limited CD jewel case package with a CD exclusive bonus track as well as a limited vinyl package with a 12 page illustrated lyric book and vinyl exclusive bonus track.

DA-Dee-MiX, the hip-hop band that's a fixture on the MC battle scene, offers a bold cover of "Today," the source material for a shining classic in the history
of sampling! The B-side features "INCENSE," a collaboration with rapper Jun Ku, which has garnered much buzz, released for the first time on 7-inch,
making this an incredibly powerful double-sided album!

DA-Dee-MiX, the instrumental hip-hop band that continues to support the MC battle and live music scenes, releases their long-awaited new 7-inch, their first
in seven years. This two-track 7-inch single blends hip-hop's roots with a hands-on spirit.
Side A features guest appearances from 45trio SWING-O, who delivers a bold cover of Tom Scott's "Today" the source material for a shining classic in the
history of hip-hop. DA-Dee-MiX's signature groove, which intertwines jazz, soul, and hip-hop, reconstructs the track, offering more than just a cover; it
offers a new interpretation for today's listeners. SWING-O's electric piano and the ensemble of live performances beautifully elevate the warmth and power
of the original.
Side-B features the long-awaited vinyl release of "INCENSE," a collaboration with Yokohama-based rapper Kujun!
Released in 2020, this track captivated many listeners with its melodic flow and unique musical sense, leading to endless calls for it to be released on vinyl.
DA-Dee-MiX's soft yet powerful track is complemented by Kujun's fragrant words, creating a track that truly lives up to the title: a track that permeates the ears!
This double-sided album is a must-listen for DA-Dee-MiX's "performative hip hop"!

Das letzte von Chris Bailey mit The Saints eingespielte Material! "Long March Through the Jazz Age" ist das letzte Album von Chris Bailey und The Saints. Es ist ein bewegender Abschied - ein Zeugnis eines rastlosen, kompromisslosen Künstlers, der immer vorwärts ging, einer der großen Texter und doch unglücklicher Musiker. Aufgenommen Ende 2018 in den Church Street Studios in Sydney, flogen Bailey und der langjährige Saints-Schlagzeuger Pete Wilkinson aus Europa ein, um sich mit Gitarrist/Toningenieur Sean Carey, der zuvor mit der Band getourt und aufgenommen hatte, gemeinsam an dieses letzte Kapitel von Bailey's Saints zu begegeben . Zu ihnen gesellten sich Davey Lane (You Am I) an der Gitarre sowie ein handverlesenes Ensemble junger Musiker*innen Sydneys. Aus Baileys groben Demos entwickelte sich "Long March Through the Jazz Age" zu einer zutiefst menschlichen Momentaufnahme mit Strahlkraft."Empires (Sometimes We Fall)" ist der hymnische Opener des Albums, getragen von Gitarren und untermalt von Baileys schmerzhaften Texten: ,Sometimes we rise, sometimes we fall". Es ist der perfekte Auftakt für ein Album, das Baileys angeborenen Punk-Spirit versprüht und gleichzeitig frei in einer großzügigen Produktion fließt. Eine 12-saitige Gitarre verleiht dem streicherlastigen "Judas" Harmonie und Wärme, es ist ein herrlich melancholisches Stück, "Gasoline" erinnert an den Country-Sound der Stones auf Exile On Main Street, während "Bruises" eine ehrliche Erinnerung daran ist, wie dieser gefeierte Troubadour dorthin gekommen ist, wo er heute steht. Es gibt Momente von Dylan-artiger Erhabenheit, wenn klangvolle Gitarren und Streicher das Panorama erweitern, während der Titelsong eine eindringliche, poetische Intensität vermittelt, dessen trauriger Trompetenbreak so erschauern lässt wie kaum etwas anderes. Long March Through the Jazz Age markiert das Ende der bemerkenswerten Reise von Chris Bailey und The Saints - die üblichen Wege ignorierend, über vier Jahrzehnte Musik gelebt. Limitiertes blaues Vinyl mit Glanzlack-Cover, Linernotes & DLC oder Digisleeve CD. "One of the most sporadically brilliant, frustratingly uneven and most undeniably important bands Australia has ever produced" - The Guardian

A DJ, producer and prolific collaborator, Greg Paulus’s musical career has led to a truly enviable discography. Born in Minnesota and now an essential part of New York’s sprawling musical landscape, Paulus has taken the foundations of an organic childhood education by his father, the composer Stephen Paulus, and seen it blossom into an unpredictable musical journey encompassing house, soul, jazz and hip-hop.

While touring as a trumpet player with indie band Beirut, as well as in Matthew Dear’s live ensemble, back home he was helping to redefine New York’s underground dance scene as one half of No Regular Play. Alongside childhood friend Nick DeBruyn, the pair brought their deeply musical sound to no less than fifty countries across the world. A decade on, and Paulus arrives on Seth Troxler’s Slacker 85 imprint for his long-awaited debut solo LP, ‘Close To Home’, a deeply felt long-play celebration of his personal cornerstones; family, trust and hope.

From the opening, organic swell of ‘Perot’, arranged with Seth Troxler himself alongside John Camp, ‘Close To Home’ introduces itself as a focused, conscious trip, it’s languid trumpet spilling over into the reflective ‘World Keeps Changing’, which introduces Paulus’s philosophy of music as a constant. ‘Midtown Mirage’ meanwhile leans into the idea of the city itself as a collaborator, resisting pressure and finding its own restful groove. Back over the river, ‘Bond’ roots itself in Brooklyn with a contribution from resident Dillon Cooper, flipping rap standards amid psychedelic flourishes.

Paulus nods toward his dancefloor form on ‘NRG’, a slinky, lo-slung club groove that seamlessly evolves to meld the artist’s nocturnal and studio instincts. In contrast, ‘Real Job’ switches the tempo on Paulus’s MPC to embody an old-school, beatdown flavour, subtly teased out alongside composer and sound designer, Taylor Bense. Doubling down on this languorous groove, ‘Hat Down’ introduces a full-scale No Regular Play reunion, the first of two collaborative tracks that recall the duo’s imperial phase of confidently minimal productions, while evolving their craft.

Following a few missed calls made with love taken from Paulus’s answering machine on ‘$1000’ the minimal, reflective arrangement of ‘Hold Dear’ finds the artist stripping back his layered sound for a skittering, vulnerable exploration of intimacy and life’s devotions.

For a memorable finale, Paulus recruits jazz prodigy Michael Feinberg to deliver upright funk on the deliciously rich ‘Sometimes It’s About Us’. A purely celebratory collage of bopping rhythms and vocals, sharply plucked guitars and archive samples, ‘Close To Home’ concludes with Paulus leading his friends, ensemble and many influences in rare harmony.

Souldynamic swings back onto the Samosa label with the mesmerizingly rhythmic West-Side Of Afrika Vol. 2.

We kick off the A-Side with ‘Touma’ – a truly hypnotic tribal afro vapour that entices you into the fire-lit night. A heavy dub-style bass just about dominates above the rhythmic ensemble, whilst the haunting chanted vocals elevate the track to ethereal levels. Stunning. No wonder Ron Trent has been spinning this one in his sets for the past few weeks – it’s right in that spiritual zone where deep house meets ancestral ritual.

Second track on Side A is the happiness trip that is ‘M.I.L’. Rolling drums, marimbas and a killer bassline merge with the flighty guitar riffs and smiling vocals. You could be in a bar listening to the music live in the room, smoke filling the spaces and dim lights offering a glimpse of good times.

Heading over to Side B and you find the enchanting ‘DJA’ awaiting. A deep roller of a tune, Souldynamic shifts the gears whilst serving the entrees. A truly magnificent slice of West-African vibes, ‘DJA’ has it all from the gorgeous vocals to the chugging, hypnotic beat.

Track 2 on Side B is the sultry ‘N.T.F.P’. The BPMs are touched down a notch for this one but don’t let that fool you. ‘N.T.F.P’ is a musical celebration of joyous beats, slaps, claps, brass and Afro vocals. You don’t get it much more authentic than this.

West-Side Of Afrika Vol. 2 is like a shapely hand in the perfectly fitted glove that is the Samosa label. A truly stunning piece of vinyl with every track as strong as the last. A sure-fire winner.

Vanbur – artist duo consisting of composers Jessica Jones & Tim Morrish – are releasing their debut album release this autumn. The album scoops up Earthing and my dove, to sleep, made famous by the Netflix show ONE DAY, alongside previous material from their debut EP ‘Human’ including In Cold Light which had a huge TikTok moment around the show’s release. Written over several years, ‘Of Becoming’ reflects a maturing of Vanbur’s sound as they themselves have gone through major life changes and transitions, which are addressed both lyrically and sonically in this impressive body of work. There’s a dreamlike quality to the album, representing the sometimes disorientating dichotomy found in immense change of wistful nostalgia and strength found in adaptation. Recorded at Church Studios with a 12-piece ensemble, the album weaves between lush orchestral heights such as Of Becoming and Friends of Mine and edgier alt-pop bangers such as Strange Kind Of Creature. Jess’ vocals are at times ethereal and textured, and at times lean further into her song-writing sensibilities with their most personal lyrics yet. With the pair’s range and skillset across production and composition fully explored, the album is a triumph of song-writing. The band have worked with filmmaker and Creative Director Matt Houghton on a strong visual aesthetic, from key artwork to narrative promotional films shot on 35mm. With graphic design by Torsten Posselt, the vinyl will have a tactile and natural quality tying in with the analogue feel of the campaign. Vanbur’s debut EP, Human, was released in 2018 and received press coverage in Clash, Ear Milk, Higher Plain etc and was played across BBC 6Music shows. The had their debut performance at the 100 Club and plan to bring a scaled up version to stages in 2026. The follow up remix EP included remixes by Mogwai and Katie Gately, and their music has been placed in hit-shows including One Day (Netflix), The Rising (Sky), Hanna (Prime) and Queens (Nat Geo).

Extended Field vereint Horse Lords und Arnold Dreyblatt für die achtzehnte Ausgabe von FRKWYS, einer generationsübergreifenden Zusammenarbeit abenteuerlustiger Musiker, die sich von der klanglich strahlenden Welt der reinen Stimmung angezogen fühlen - einem alten Stimmungssystem, bei dem die Tonintervalle aus ganzzahligen Verhältnissen abgeleitet werden. Dreyblatt tauchte erstmals in den 1970er Jahren in New York in diesen Ansatz ein, während Horse Lords fast vier Jahrzehnte später begannen, dessen Möglichkeiten zu erforschen und anzuwenden. Gemeinsam schaffen sie eine lebendige harmonische Umgebung, die von ihrer gemeinsamen Leidenschaft für Rhythmus angetrieben wird und eine Verbindung von diskreter, aber verwandter Ästhetik für die Ewigkeit herstellt. Dreyblatt ist ein Pionier des psychoakustischen Phänomens und war von 1975 bis 1977 Assistent von La Monte Young, bevor er bei dem legendären Alvin Lucier an der Wesleyan University studierte. Er entdeckte die klangliche Kraft angeregter Saiten, rüstete einen Kontrabass mit Klaviersaiten nach und schlug mit schnellen Schlägen darauf, um einhüllende Wolken metallischer Obertöne zu erzeugen. Dreyblatts Album Nodal Excitation aus dem Jahr 1982 legte einen klanglichen Entwurf fest, der bis heute das Herzstück seiner pulsierenden Musik bildet. Schließlich zog er nach Berlin und leitete im Laufe der Jahre verschiedene Ensembles, die das kompositorische Gerüst, das er um seine klingenden Töne herum aufgebaut hatte, verstärkten und interpretierten. Im Gegensatz zu Dreyblatts hyperfokussierter Praxis haben Horse Lords einen ganz eigenen ekstatischen, hybriden Sound entwickelt: Hard-Driving-Rhythmen unterstützen eine Kollision aus traditioneller Ritualmusik, Free Jazz und spektral brillanten elektronischen Schauern psychoakustischer Klänge. Nachdem sie sich mit ihrem 2020 erschienenen Album ,The Common Task" eine treue Fangemeinde aufgebaut hatten, zog der Großteil der Band 2021 nach Deutschland, wobei sich Gitarrist Owen Gardner und Bassist Max Eilbacher in Berlin niederließen und Saxophonist Andrew Bernstein nur wenige Stunden entfernt in Bayern. Schlagzeuger Sam Haberman blieb in Baltimore, trifft sich aber weiterhin mit der Band für Albumaufnahmen, darunter das 2023 erscheinende Album ,Comradely Objects", und ausgedehnte Tourneen. Ohne es zu wissen, teilten beide Seiten ein gegenseitiges Interesse an der Musik des anderen. Anfang 2017 schlug Dreyblatts langjähriger Kollege und Freund Werner Durand ihm vor, sich die Band anzuhören. Er erinnert sich: ,Nachdem ich sie gehört hatte, antwortete ich schnell: ,Klingt großartig! Ein bisschen wie meine Musik. Ich habe noch nie von ihnen gehört!` Ich schickte ihnen eine Nachricht über ihre Bandcamp-Seite, und sie antworteten: ,Hallo! Danke für die Nachricht, wir sind große Fans deiner Musik!` Aber erst als Dreyblatt die Band im Oktober 2021 in Berlin sah, kreuzten sich ihre Wege endlich. Einige Tage später schlug Bernstein eine Zusammenarbeit vor. Dieser Prozess verlief langsam, aber sicher; beide Seiten waren sehr beschäftigt, und als die Musiker schließlich zusammenkamen, mussten sie unterschiedliche harmonische Vorstellungen miteinander in Einklang bringen und brauchten jemanden, der Haberman am Schlagzeug ersetzte. Dreyblatt schlug Andrea Belfi vor, einen angesehenen italienischen Schlagzeuger und Komponisten, der in Berlin lebt. In den folgenden Kompositionssitzungen lernten Horse Lords und Dreyblatt die Feinheiten der harmonischen Vorlieben des jeweils anderen kennen und fanden Wege, diese zu einem einheitlichen Klang zu verschmelzen. ,Andrew und Owen schlugen Strukturen für die Navigation durch meine Tonsysteme vor", erklärt Dreyblatt, ,während Max in SuperCollider gewichtete algorithmische Frequenzmuster entwickelte." Viele Bewohner des Stimmungsuniversums haben hartnäckige Überzeugungen darüber, was richtig und was falsch ist, daher ist die Geduld und Offenheit beider Seiten ziemlich ungewöhnlich, wobei die Partnerschaft faszinierende Akzente und Veränderungen hervorbringt. ,Als Fans von eingeschränkter/algorithmischer Kunst (nicht der schlechten Art!) haben wir beschlossen, diese Matrix in den Mittelpunkt unserer Entscheidungsfindung zu stellen, um uns sowohl eine nicht willkürliche Möglichkeit zu geben, die ansonsten unendlichen Möglichkeiten zu begrenzen, mit denen man bei der Komposition mit Zahlen konfrontiert ist, als auch einen Ausweg aus festgefahrenen Gewohnheiten", schreibt Gardner über die Schaffung von Grenzen für ihre harmonischen Welten. Anstatt den Prozess einzuschränken, zwang diese Entscheidung die Musiker, ihre Komfortzone zu verlassen, und erforderte mehr Einfallsreichtum und Bedachtsamkeit bei ihren Entscheidungen. Das Endergebnis ist weit mehr als die Summe seiner Teile, da beide Parteien sich auf die Ideen des anderen einlassen, ohne die Vorrangstellung ihrer eigenen Ideen zu opfern. Der galoppierende polyrhythmische Antrieb, der ein charakteristisches Merkmal der Musik von Horse Lords ist, bleibt allgegenwärtig, und ein Stück wie ,Extended Field" nutzt die numerische Matrix von Dreyblatts System sowohl harmonisch als auch rhythmisch. In dem sich endlos wandelnden Drone-Stück ,Suspension" umschmeicheln Horse Lords Dreyblatts gestreifte Bogenstriche mit ihren eigenen pulsierenden Tönen. Obwohl ihre Rolle in den jeweiligen Werken unterschiedlich ist und sie im Verhältnis zu anderen Elementen in unterschiedlichen Anteilen vorkommen, ist die harmonische Erforschung das Herzstück dieser atemberaubenden Zusammenarbeit. Wie man im Schlussstück ,Impulse Array" erkennen kann, führt das Stöbern der Horse Lords in Dreyblatts Matrix zu den klanglichen Entdeckungen, für die sie leben. Wie Gardner bemerkt: ,Jede Wendung offenbart einen überraschenden, aber irgendwie unvermeidlichen neuen Akkord, dessen Verlauf seltsamerweise an einen Bach-Choral erinnert, der sowohl sehr zielgerichtet als auch ohne Ziel ist."

Mit Live in Bangalore legt der Kölner Schlagzeuger und Komponist Jo Beyer das dritte Album seines Quartetts vor - ein fulminantes Live-Dokument aus dem renommierten Windmills in der südindischen Metropole Bangalore. Fünf hochenergetische Tracks voller Spiellust, Wucht und Tour-de-Force-Momenten zeigen die Band in absoluter Topform. Entstanden gegen Ende einer intensiven Indien-Tournee, fängt die Aufnahme einen Abend ein, an dem alles stimmte: ein extrem gut eingespieltes Ensemble, ein Raumklang von Weltklasse und ein Publikum, das restlos aus dem Häuschen war. Sämtliche Titel existieren bereits in Studioversionen, doch hier sind sie hörbar gereift - durch jahrelanges Zusammenspiel, erweiterte Improvisationen und radikale Interaktion. Besonders prägnant ist die ungewöhnliche Besetzung ohne Bass, die ein unverwechselbares, rhythmisch starkes Klangbild schafft. Mit Pianist Felix Elsner an Bord hebt Beyer das Quartett endgültig auf ein neues Level - kraftvoll, kompromisslos und voller Überraschungen.

Green Vinyl. Twenty-five years after their first recording, Panzerpappa - perhaps Norway's most cordial avant-prog ensemble - felt the time had finally come to release their first-ever concept album. In 2025 the band will launch Landsbysladder, their eighth studio release. Landsbysladder is Norwegian for "village gossip" and the album comprises seven instrumental pieces centred on the themes of rumours, tales, and gossip in a small village - a musical chronicle of minor and major dramas unfolding in a tight-knit community where everyone knows everyone - or at least thinks they do. Landsbysladder tells a vivid story without uttering a single word. The music shifts between open, melodic passages and sudden bursts of intensity, drive, and complexity. Tempo changes, rhythmic twists, and harmonic detours mirror the unpredictable way gossip can spread, grow, and shift the mood in an instant. The album features several distinguished guest musicians: renowned folk artist Rannveig Djonne on diatonic accordion, seasoned performer Silje Hveem Lofthus on flute, internationally acclaimed soloist and professor Håkon Stene on tuned percussion, Håkon Borve on the rarely heard contra-alto clarinet, and last but not least, jazz luminary Ståle Storlokken - known from Elephant9, Terje Rypdal, Motorpsycho, and Supersilent - on synthesizer.