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Following a limited 7” vinyl release of SunPalace edits in 2020, BBE Music finally delivers the full-length versions of Moodymann and Kenny Dope’s ‘Rude Movements’ remixes, alongside brand new interpretations by François K, Frankie Feliciano and OPOLOPO, plus a special edit by Phil Asher.
François Kevorkian needs no introduction to fans of House and electronic music. Featuring keys by Eric Kupper, his ‘SATS Dub’ and ‘TradMix’ versions of ‘Rude Movements’ are simply classic works, summoning House music’s golden era forward in time, to the here and now.
Bonus spaced-out ‘Flerken Space Bubbles’ and beat-less ‘Atmosphere’ revisions are also included in the digital version: both invaluable tools for DJs. Ricanstruction label founder and
long-time champion of the good groove, Frankie Feliciano delivers a slick and faithful update of ‘Rude Movements’, with a slight Latin soul twist. Swedish mix-king OPOLOPO turns in a typically live-sounding, funky and dancefloor-ready jam (ready whenever the dancefloor is,
anyway) The full, extended version of Moodymann’s remix retains the original ‘jammed’ feel of Rude Movements, adding stellar flute, sax and piano solos to that hypnotic vibe. Kenny Dope’s Afro-Latin inspired ‘Dancefloor Powder’ version is joined this time by a rough’n’ready, street tough ‘O'Gutta’ mix; calling all b-boys and b-girls! For the expanded digital package, we are also including a special edit by our sorely missed brother Phil Asher, created for his
own DJ sets and now available to all.
Made famous by David Mancuso at his New York Loft Parties, ‘Rude Movements’ was an obscure Brit-funk b-side recorded in the home studio of Mike Collins. The track’s unique sound, coupled with pristine sonics and production values caught the audiophile ears of
Mancuso, and the rest is history. Soon the track found its way into the hands of Loft Party denizens Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit and continues to influence House and electronic producers through to this day.

Bottin teams up with Francisco (Jolly Music, L.U.C.A.) for a drugged-out, sexed up, slo-mo psych-rock aptly titled LOVE LIFE. Old acquaintance Rodion steps in on remix duties, working deranged synth magic in the extended dj version. On the flipside, Argentina's Fernando Pulichino (2020 Soundsystem, Silver City) joins in with his flamboyant bass and shimmering guitars on DELTA TIGRE, an afro-cosmic sound contraption. The IchiSan remix heads up to the sky, all the way to synth heaven. Overall a compelling, throbbing disco-not-disco EP for adventurous djs and dancers in-the-know, who want to hear something different and juicy.

Musica Per Immagini is pleased to announce the first release on vinyl of Franco Micalizzi's soundtrack to the film “Delitto Sull'Autostrada”, directed by Bruno Corbucci and starring the Italian-Cuban-American actor Tomas Milian. Eclectic, innovator, full of life and energy, out of the ordinary, the composer is best known for his scores in poliziotteschi films such as “Roma A Mano Armata”, “Napoli Violenta” or “Italia A Mano Armata”, whose theme was used also in Quentin Tarantino's “Death Proof”. The music for the third chapter of the so- called 'delitti' series, centered on the character of Nico Giraldi, reflects the artist constant search for a 'circular' groove of great impact, common to scores composed for previous crime films: the unmistakable sound of the clavinet and the brass of his big band, a funky mood 'borrowed' from beatmakers all around the world, is here 'evolved' in an electronic key, thanks to a skinfull use of keyboards and synthesizers.

Coinciding with the release of the Curtis Vodka EP on Mutual Intentions, Kurtiss moves from the fringes of the dance floor to the centre of the DJ booth with this lively three-track tool for the same label. The mysterious artist pays tribute to House music's origins as he takes his style of Hi-Def House music into peak time.

Shimmering hi-hats, deep basslines and staccato keys explode on "Every Woman loves Acid" where a disembodied vocal and squelching 303 go line for line in a psychedelic call and response. The obvious Larry Heard tribute, hastens the step of the Chicago classic "Can You Feel It" to accommodate an impatient dance floor, while Sadé croons over a skipping bass line for a live remix of "Never Thought."

Kurtiss homes his efforts in on the groove for this outing in a fitting selection for the whitelabel format. Alongside the official EP, this ushers in a new era for Kurtiss' music, sealing his future in wax, and bringing his music to a bigger audience through the Mutual Intentions franchise.

Kurtiss is a sporadic figure on the House music scene with eccentric habits, whose music is a rarified sonic experience for those who seek it out. Finally, this package re-constitutes the artist's presence in a physical format that will indefinitely become a future apogee on his and the label's discography.

This is the tenth anniversary edition of Frank Turners fourth album 'England Keep My Bones'. This is the album that saw Frank step up from underground, cult status to mainstream success. It originally entered the UK Album Chart at number 12 and has since been certified Gold by the BPI for sales of over 100K in the UK. It features the hit singles 'Peggy Sang The Blues', 'If Ever I Stray' and 'I Still Believe' and 'Wessex Boy' both of which Frank performed at the Olympic Opening Ceremony in 2012. At the end of the album campaign in April 2012 Frank headlined a sold out Wembley Arena.

Jazz Behind the Dikes Vol 3 is the third and final installment in the Jazz Behind The Dikes series, which highlights some of the greatest Dutch jazzmen under ideal conditions: in their own combo’s and playing the music of their own choice in complete freedom. The result is a collection of straightforward modern jazz by renowned Dutch jazz musicians such as Ron Madna Trio, Tony Vos Quartet and Frans Elsen Quartet.

This third volume of the series is available as a limited edition of 500 individually numbered copies on blue vinyl.

LP edition of the sold out CD/Pamphlet from 2016. The score by Schmid, reading by Landry, and edited/produced by McCann. Includes a big poster of The St. Francis List.

Emily Martin and Derek Baron on St. Francis (Feb. 2021):

What does it mean to pray? To address someone, to plead for something, to welcome humiliation and failure: Please, let me forget about the China Chalet parties, please let there be no countries and no war, please let me love you. Is prayer iteration, or just repetition: My god, my god, my god, my god… To know spleen you just have to be down to be humiliated. But do we know for sure that we are miserable? How do we know?

This is how it has to go. We listened to this for the first time together in May 2017, while driving from Chicago to New York along the I-80 in Pennsylvania, stopping at the rest area that I later mistook for the famous picture of American “culture.” We stayed at a hotel and may have ordered a pizza. Content first, then, content again. Went inside and drank wine in relative silence, burping. Recognizing the sacredness in the plot of Friends. A choral melisma representative of holy Joy.

The dreams of moving through a convoluted space of passages, staircases, open courtyards, rooms just glimpsed past a door. It doesn’t seem possible that you can get from one place to the next but according to the logic of the dream you do. I think this has to do with how each little unit of ‘content’ happens at a different distance from your ear. The holiness of the periphery. That you can catch a shard of history if you only find the right distance to stand from the painting.

But prayer is also like the magic language we were talking about — faith that words do something more than just mean — they have the capacity to effect change in the world, and not just in the like, “words change ppl’s minds” kind of way, but in that the words themselves actually have agency. Form: sing-along.

“Any other singer can sing a love song and the audience will think about lovers lost and found. When I sing a love song it is a metaphor for the yearning of a subjugated people to be free.”

Miriam Makeba’s ‘Keep Me In Mind’ was her last album for Reprise and reflected major changes in both her own personal life and politically within the USA. After becoming a national star globally following the success of ‘Pata Pata’ in 1967, she had fallen out publicly with her mentor and ‘Big Brother’, Harry Belafonte. Makeba made the decision to return to Africa following an invitation from President Sékou Touré of Guinea. In Conakry, Makeba met Stokely Carmichael, President of civil rights organisation the SNCC and they would later marry. “With the Vietnam War, the student protests and the riots in the ghettos, everyone is scared,” Makeba said. “Everyone is afraid that there will be a great black uprising.” Makeba’s concerts were widely cancelled and both her and Carmichael were followed relentlessly by the FBI.
Reprise also terminated her contract but brought in producer Lewis Merenstein for her final recording for the label, best known for his work with Van Morrison on ‘Astral Weeks’. Merenstein suggested two Van songs for Makeba to cover, ‘Brand New Day’ from the ‘Moondance’ sessions and ‘I Shall Sing’ and further songs were added to reflect both the political climate and Makeba’s own memories including Stephen Stills’ ‘For What It’s Worth’ and Lennon & McCartney’s wistful ‘In My Life’. New compositions by Makeba and her daughter Bongi included ‘Lumumba’, a personal tribute to Congolese independence leader, Patrice Lumumba. Reflective of the times, the album is infused with a palpable despair but, as in all of her music, a quiet determination still shines through.
This new reissue of ‘Keep Me In Mind’ is presented in its original artwork and features rare photos and new extensive liner notes by Francis Gooding of The Wire. Remastered from the original tapes by The Carvery.

- Definitive edition of Miriam Makeba’s final album for Reprise in 1970
- Remastered by The Carvery from original reel to reel tapes
- 1LP and 1CD feature brand new sleeve notes by Francis Gooding of The Wire + rare photos

Shura announces a deluxe version of her acclaimed 2019 album
‘forevher’, released via Secretly Canadian.
‘forevher: Deluxe Edition’ is released on cassette and features the
eleven original album tracks with nine extras. These include acoustic
versions of five album tracks recorded and produced with Sam Evian
and featuring Hannah Cohen on backing vocals, previous Bandcamp
single ‘magazine launch (demo)’, last year’s collaborative single
‘elevator girl’ featuring Ivy Sole and two unreleased tracks including
‘obsession’.
On ‘obsession’, Shura explains: “‘obsession’ was one of the songs I
wrote whilst I was writing ‘forevher’. I always wanted it to be a duet
between two women but it never came to fruition during the recording
process. Then, when I toured ‘forevher’ in Europe, Rosie Lowe came
with us and we’d always spoken about wanting to collaborate on
something together and I suddenly remembered this song, which I loved
but had somehow never finished. I sent the track across to Ro and when
she sent back her rough take I was like ‘YES. this is it.’”
With ‘forevher’, Shura’s immediately identifiable way with love, touch and
how we talk about it reached even greater creative heights. Having
moved from West London to New York following her adored 2016 debut,
,Nothing’s Real,, it’s all mirrored in a lyrical journey from rejection and
loss to desire, long-distance love and the prospect of how we make
something real actually work.
In 2020, Shura emerged as one of contemporary pop’s accidental
trailblazers. A frank, funny voice in the LGBTQ+ community whose
contribution to the paradigm-shift in the cultural landscape cannot be
underestimated.
Written primarily about Shura’s relationship with her girlfriend and their
long-distance conception, ‘forevher’ traces everything from the initial pull
of desire to that first real life meeting (‘the stage’), before recognising
when the connection develops into something scarily meaningful. It’s a
classic NYC-to-London love story but one told through the totally modern
filter of dating apps, unanswered texts, Skype chats and MUNA gigs.
And whilst how to live - and love - as a queer woman has always been
integral to Shura, it’s remarkable to hear these stories twisted through
such a gorgeous amalgam of influences: Joni Mitchell and Minnie
Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through
these inspirations, Shura’s own modern, outlier perspective found a
newer, more daring approach to sound and song.

*2022 2LP Version *

Seven years after the classic ‘Theater of a Confused Mind’ (as Population One), Detroit techno phenomenon Terrence Dixon is back on Rush Hour with a new album, this time under his own name.

It would be a massive understatement to say we’re proud of this one. After all our whole operation was named after one of Dixon’s early tracks (‘Rush Hour’ originally appeared on a double EP called ‘Hippnotic Culture’ on fellow Detroit legend Claude Young’s Utensil Records in 1995) and ‘Reporting from Detroit’ again finds the maestro in outstanding form.

‘Reporting from Detroit’ is another prime example of the distinctly unique sound language Dixon has developed over the last three decades - defiant, forward-thinking afrofuturist techno that could only have been made in the Motor City.

But this is not just mere Detroit techno - it’s a sound language that’s unique to Dixon. An instantly recognizable high-octane sonic language fueled by frantic funk that’s constantly pushing the boundaries of machine music without ever losing the connection to the magic of the Detroit streets at night.

The legendary composer of Mission: Impossible participates in this tribute album entirely produced and performed by Jean-Michel Bernard and his musicians, himself a acclaimed composer and jazzman / pianist recognized throughout the world. This vinyl edition is exclusive to Wayô Records, after the CD version by Varese Sarabande in the USA.

Jean-Michel Bernard Plays Lalo Schifrin is above all a beautiful story of friendship...

The pianist, conductor, composer and Argentinian arranger Lalo Schifrin is known, among others, for his film music (Bullitt, Dirty Harry, Enter the Dragon…) and tv shows (Mission: Impossible, Mannix, Starsky and Hutch…). On the other side, pianist and composer Jean-Michel Bernard accompanied Ray Charles in concert for the last three years of his life, and is notably the usual composer for Michel Gondry's films.

This album, focusing on the orchestrations of film scores composed by Lalo Schifrin, was born from the friendship that unites the two composers and the success of a concert program put on by Jean-Michel in tribute to Lalo Schifrin at the La Baule Festival (France) in 2017.

With the presence, on three tracks, of Lalo Schifrin as well as Kyle Eastwood on, of course, the music of Dirty Harry…

With Bending the Golden Hour, the third album from Memphis, Tennessee’s Aquarian Blood, husband and wife team J.B. Horrell (Ex-Cult) and Laurel Horrell (formerly of the Nots) continue the gorgeously stripped-down and atmospheric direction set on their critically acclaimed previous effort A Love That Leads to War.

While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 2017’s Last Nite in Paradise, released on Goner Records. After drummer Bill Curry broke his arm, the Horrells redefined

Aquarian Blood, reemerging in early 2018 as the more intimate, mostly acoustic balladeers behind the staccato, fever dream sound of A Love That Leads to War. Like its immediate predecessor, Bending the Golden Hour was recorded at the Horrell's Midtown Memphis home. The band turned over 43 tracks to Goner co-owner Zac Ives, who handpicked 17 songs for the album.

The final result is shimmering and hopeful; as beautiful and sparse as a Rockwell Kent snowscape. Bending the Golden Hour begins ominously with “Channeling,” which sounds like an outtake from Paul Giovanni’s soundtrack to 1973’s pagan nightmare The Wicker Man. Then the band upshifts for “Time in the Rain,” a sweet duet set to a rigid snare beat. From there, Aquarian Blood zigs to country and zags to psychedelic folk, brooding on one song and soothing listeners with the next. And while the music, feel, and experience is different, Aquarian Blood naturally brings to mind some legendary musical partnerships: Richard and Linda Thompson, Lee Hazlewood and Nancy Sinatra, Johnny and June Carter Cash, Gram Parsons and Emmylou Harris; not to mention similarly-bent-but-beautiful luminaries like Roy Harper, Pentangle circa 1967 -1973, and Jackson C. Frank.

There’s a big middle ground, like folk-psych, or weirder country music,” he says, reeling off names like Skip Spence and Syd Barrett as stepping stones between the genres of punk and folk.

Inspirations for Bending the Golden Hour come from myriad sources that document the milestones and minutiae in a family’s full life. Some lyrics name a time or a place; others reflect the fleeting moments that elapse unnoticed. “Come Home,” which is sung by J.B. and his daughter Ava, was written the day Ava got her driver’s license. “Ava took the car out by herself afterwards, and I wrote the song immediately—she sang her part when she got home that evening,” J.B. recalls. Whether or not the listener knows the backstory, the song rings sentimental, with subtle, supportive instrumentation that underscores guitar and vocals. The bewitching “Rope and Hair,” on the other hand, is less sketched out, with lyrics that are simply a recitation of the talismen found on a silver sabertooth charm that J.B. purchased for Laurel at a Latin strip mall in southeast Memphis. That’s all to be said. “Sometimes when you know too much about what the song is about, it takes away the magic,” says J.B. “Alabama Daughter,” says Laurel, is about a place where a childhood friend lived called Castleberry Holler. “It was really rural, just a lot of shacks without electricity—the kind of place you didn’t go to unless you were invited,” she says. “Probable Gods” is a hazy reflection on the struggle of such a strange year. “It’s been very cathartic to put all of this into words and not have it live

A tender and sweeping story about what roots us, Minari follows a Korean- American family that moves to a tiny Arkansas farm in search of their own American Dream. The family home changes completely with the arrival of their sly, foul-mouthed, but incredibly loving grandmother. Amidst the instability and challenges of this new life in the rugged Ozarks, Minari shows the undeniable resilience of family and what really makes a home.

Minari already won several awards at Sundance Film Festival, Alliance of Women Film Journalists, Boston Society of Film Critics, Denver Film Festival, Florida Film Critics Circle, Los Angeles Film Critics Association, North Carolina Film Critics Association and appeared on over 30 critics’ year-end top-ten lists, including first place on two lists and second place on four.

Emile Mosseri is an American composer, pianist, singer and producer based in Los Angeles. He has scored films and series including The Last Black Man In San Francisco, Kajillionaire, HBO’s Random Acts of Flyness and Season 2 of Amazon’s Homecoming. Emile is a member of the indie-rock band The Dig.

Liz Phair announces ‘Soberish’, her highly-anticipated new album and first collection of original
material in eleven years. Produced by Phair’s longtime collaborator Brad Wood - known for helming
Phair’s seminal albums ‘Exile In Guyville’, ‘Whip-Smart’ and ‘whitechocolatespaceegg’ - ‘Soberish’ is
released via Chrysalis Records.
Almost thirty years since her peerless debut album ‘Exile In Guyville’ was released (voted #56 in
Rolling Stone’s 2020 list of the 500 Greatest albums Of All Time), Phair returns with a new record that
will both intrigue and satisfy her long-standing fans and introduce her to a smart young audience
whose contemporary heroes have been reading from Phair’s playbook since they first picked up a
guitar.
Liz Phair has achieved the kind of status in her industry rarely bestowed on recording artists. Her
albums in the 1990s were central to the indie rock canon of the day. Her image was featured in
countless magazines, early Apple commercials and Gap ads. Her eponymous album for Capitol
Records in 2003 took Phair in a pop direction that ruffled some critics’ feathers but nonetheless went
gold, galvanizing a host of new fans, particularly among young women who fell in love with hits like
‘Why Can’t I’ and ‘Extraordinary’, tracks that were featured in several major films and TV shows,
including 13 Going On 30, Raising Helen and How To Deal. Liz has picked up two Grammy
nominations and a spot in Pitchfork’s Greatest Albums Of The 90s, with over five million record sales
to date (including three US gold albums). She sang ‘God Bless America’ at the opening game of the
Chicago White Sox World Series victory in her hometown in 2005.
‘Soberish’ is a portrait of Phair in the present tense, taking all of the facets of her melodic output over
the years and synthesizing them into a beautiful, perfect whole. She’s at the top of her game in the
recording studio, drawing upon years of experience in television composition to weave through the
songs daring and unexpected sound design. With Brad Wood’s exquisite engineering and masterful
production, the result is a wholly fresh yet satisfyingly familiar sound that challenges on the first listen
and seduces with each subsequent play through. The earworms are strong with this one.
Phair says, “I found my inspiration for ‘Soberish’ by delving into an early era of my music development,
my art school years spent listening to Art Rock and New Wave music non-stop on my Walkman. The
English Beat, The Specials, Madness, R.E.M.s Automatic for the People, Yazoo, The Psychedelic
Furs, Talking Heads, Velvet Underground, Laurie Anderson, and the Cars. The city came alive for me
as a young person, the bands in my headphones lending me the courage to explore.”
None of the arrangements on Soberish are traditional songwriting standards but the hooks are so
catchy, the imagery so compelling, that the listener is drawn effortlessly along with the music. There
are the off-kilter, unexpected guitar chords listeners will recognize as her signature style, a mainstay
from her earliest work; the instantly knowable choruses of her most pop-friendly songs of the early
2000s; the frank lyricism and storytelling that has opened doors for countless women picking up
guitars and attempting to speak about their experiences.
Phair shares insight into the meaning of her title: “‘Soberish’ can be about partying. It can be about
self-delusion. It can be a about chasing that first flush of love or, in fact, any state of mind that allows
you to escape reality for a while and exist on a happier plane. It’s not self-destructive or out of control;
it’s as simple as the cycle of dreaming and waking up. That’s why I chose to symbolize ‘Soberish’ with
a crossroads, with a street sign. It’s best described as a simple pivot of perspective. When you meet
your ‘ish’ self again after a period of sobriety, there’s a deep recognition and emotional relief that
floods you, reminding you that there is more to life, more to reality and to your own soul than you are
consciously aware of. But if you reach for too much of a good thing, or starve yourself with too little,
you’ll lose that critical balance.”

‘Changephobia’ is the second full length solo
record from Grammy Award-winning songwriter,
producer and composer Rostam Batmanglij.
An adventurous new direction for Rostam, the
songs collected on ‘Changephobia’ are deeply
personal, yet universal for anyone who has ever
experienced doubt.
In addition to being a founding member of the
seminal New York indie rock band Vampire
Weekend, Rostam has been described as “one of
the great pop and indie-rock producers of his
generation.”
Rostam has produced and co-written critically
heralded recent albums by Clairo and Haim, as
well as singles from Maggie Rogers, Solange,
Charli XCX, Frank Ocean, Santigold and others.








[h] [interlude]

Originally released on CD in 2012, Chapter's landmark compilation of 70s gay musical pioneers gets a vinyl release for the first time ever - and on limited baby pink vinyl to boot! Strong Love explores the first wave of openly gay songwriting, emerging after New York's Stonewall Riots kickstarted the modern gay rights movement in 1969. It took just a few years for the defiant chanting and interlocked arms of early 70s pride marches to reverberate onto record, and Strong Love begins with the earliest known example, 1972's A Gay Song by London hippie collective Everyone Involved. Across 15 tracks, the compilation takes in disarmingly personal folk, uplifting soul, outsider country and dark synth-rock. But tellingly, none of its songs could be considered well-known. New York's Steven Grossman released the first major label album by an openly gay artist in 1974, and Tom Robinson hit the UK Top 20 with the fiery Glad To Be Gay in 1978, but these are the exceptions. The coy ambivalence of Lou Reed and David Bowie was about as sexually adventurous as the 1970s music industry got, and most Strong Love artists released their own self-funded recordings in very limited numbers. Unlike their lesbian counterparts, who joined forces to create long-lasting record labels, strong distribution networks and considerable sales figures, gay male musicians in the 1970s existed largely in solitary bubbles. Which doesn't mean they didn't carve out niches of their own. Chris Robison played with the New York Dolls and Elephant's Memory, while LA glam seducer Smokey saw members of the Stooges and Quiet Riot pass through his backing band. Steven Grossman was covered by Twiggy and Scrumbly & Martin are infamous for their work with San Francisco drag hippies the Cockettes. Strong Love illustrate the vision, talent and raw courage that drove 1970s songwriters to sacrifice popular careers for the sake of honesty and selfexpression. Compiled by Chapter Music's Guy Blackman, with an evocative introduction from drummer RIchard Dworkin (who played with Blackberri and Buena Vista), the album is a powerful tribute to pioneering artists whose music has been neglected for too long.

New imprint Distant Waters, from Nantes, France is an ode to high seas, far away oceanic lands and unknown marine wildlife. Co-founder of the label, Sans Sucre, who released previously on Antam records and Planet Tapes offer this first EP from Distant Waters.

The A1 of this four-track EP, Tetrodoxin, is the starting point of the aquatic story, with whales samples and aquatic groove, it fit perfectly to warm up a wet dancefloor.

A2, Aqualung is inspired by asian groove, with some tastes of Yellow Magic Orchestra matching with 303 elements.

The B-side follows up with Sequential Hermaphrodism, A downbeat track with an heavy hip hop inspired bassline. Then it finish with Ampullae Of Lorenzini, the most dancefloor oriented track of the EP, with a mysterious sweet voice.

Double LP of classic songs from the Kings of Jazz.

Cousins Gilberto and Karin Rodriguez have been steadily synthesizing a unique type of musical and cultural fusion together as Almas Fronterizas. Blending their lived experiences in Mexico City, Los Angeles and the San Francisco Bay Area with a musical lineage paying homage to their Indigenous roots, they've created a representative musical offering, a modern day psychedelic sonic painting of analog blues, rock, and brown-eyed soul.

The group's first several releases, via their own imprint Discos Pistolas y Saguaros, solidified their space in a wide encompassing and constant changing West Coast music scene, yet stood out with an experimental freedom and independent hustle that found kindred spirits in New York City record label Names You Can Trust.

Now, after a suitable time marinating together with NYCT, a natural continuation of the group's ethos is presented in the form of two new songs on 7-inch vinyl. Featuring a third cousin in Carlos Rodriguez on trumpet, plus percussive powerhouse Ahkeel Mestayer on timbales, conga and maracas, Brian Tuley on flute, Devin Hollister on bass and horn arrangements by La Doña's Cecilia Peña-Govea, the tracks were recorded in Berkeley by Mike Walti and mixed down in Brooklyn for a true coast to coast collaboration. Out in the front, Gilberto's vocals drive drop-top down, wide open and honest in melancholic blue notes, whether he's motoring down the highway over northern soul-with-a-hook A-side, "Cruel Desperation," or cruising on the avenue in the slow-motion B-side ballad burner, "Linda Morenita," it's another showcase of the tremendous range of style and engaging expression that this group can hit.

Vinyl Only

Expo 2000? Mousse T? Cyberhouse at Hanomag? The many shades of Hannover. If you haven't heard of Felice, now's the time. The city's most hidden secret guides us towards Fantasy, that is. The Nine-Oh-Nine, the piano, it's all in there. House Music for the Jilted Generation. Made in Linden. For the time being available on beautiful, one-sided vinyl only. Well we through in a little download card just in case. Now close your eyes, move your feet and sing along as if nobody is ever watching.

Helsinki-based US bassist Nathan Francis steps up as a bandleader with his debut project Nathan Francis Quartet. Together with a grade-A cast of Finnish musicians, the four-piece presents some of Nathan's favorite tunes from the standard repertoire (J.Hicks, C. McBee & J. Coltrane) as well as original compositions from members of the group. As Nathan puts it, "in terms of compositions, the group acts somewhat like a collective. We play compositions of each member but with an energy and interpretation that belongs completely to the moment."

Francis' debut album features the Finnish jazz legend Eero Koivistoinen on tenor saxophone. "Eero has given immensely to the jazz scene here in Finland and abroad. He carries a sound that is so deep and intense. I feel he is the perfect fit for this band", the young bassist explains. Koivistoinen has also composed two songs for the album, the soulful opening track Minor Solution and the bluesy track entitled Late Show. Markus Niittynen plays the piano and drummer Aleksi Heinola mans the drum seat. The former has also composed the album's third track Crystal Clear and the latter is well known as the inspired leader of his own quintet.

Now settled in Helsinki, and matriculating at the Sibelius Academy, Nathan is ready to release his debut LP. Nathan's primary wish was to form a "cross generational band as a tribute to his musical ancestors", a testament to the character of this young jazz musician. In his own words, Nathan says "meeting Finnish jazz legend, Eero
Koivistoinen, sealed the deal", and this eloquent musical project came to its fruition at the studios of the Sibelius Academy.

The Boy With No Name - angelehnt an den kurzzeitigen Spitznamen des Sohnes von Travis’ Frontmann
Fran Healy - wird zum ersten Mal in seiner ursprünglichen Form auf Vinyl wiederveröffentlicht.
2007, zehn Jahre nach der Veröffentlichung ihres Debütalbums hatten sich Travis auf ihrem 5. Studioalbum
der Welt der Beziehungen zugewandt, wobei sich insbesondere ”My Eyes” auf Fran Healy’s neugeborenen
Sohn bezog. Das von Nigel Godrich (Radiohead, Beck, Paul McCartney) und Brian Eno produzierte Album
bezeichnete Fran später als ”our most eclectic album”. Es enthielt den UK Top 10 Hit ”Closer” und schaffte
es in die Top 5 der UK-Charts. Von der BBC wurde es als das Werk einer Band gelobt, die es sich leisten
kann, Risiken einzugehen”.
Das Album erscheint als 2LP mit Gatefold-Hülle, bedruckter Innenhülle und Bonus 7”.

“Vax!” – Reminiscent of all the slippery vinyl that glitched under so many sweaty wet fingers in a steamy basement before time – a picture that seems highly illegal in our current antiseptic climate of hopefully germ free adolescents. Vax-inate! Give them the needle! It’s time.

Deti Vechnosti – Pered Rassvetom opens the gates to plug into the socket of our collective deranged consciousness, generating frisky and flamboyant specks to brightening darkness that confines our lives. Offering glimpses of the great unknown we also carry within. The Track introduces Chikiss & Mustelide’s new group “Deti Vechnosti”.

Alexander Arpeggio & OhLandy’s “Der Anruf”, wich originally appeared as a French language version on a previous Sameheads / Diapason tape release tells those tales of hot and hotter heat. Karmic payback for the sweaty and long nights enveloped in the halo of resonating frequencies of silly and high-spirited mischief.

Rouge Mécanique – Down the Line – follows suite in the odyssey that is a demented night out, sitting in front of a club, realising that the leatherjacket you picked up a few streets ago from the ground doesn’t smell like adventure but like spew.

The B-Side opens with Automatenfall – a hardware electronic 3 piece, previously appearing live at Sameheads during a “My Friend calls it K-Jazz” event. A yearning that eventually gets us on a spiritual path and headed toward enlightenment through the meandering melange of chimes, that little sounds that usually overcome us in the weirdest of times.

Das Kinn – the new project from Toben Piel, who’s part of Frankfurt’s MMODEM family, and one half of Les Trucs evokes memories of better days, black leatherpants – think Falco meets DAF – Überpop for the Untergrund.

Stopping for a final coup d’œil is Alessandro Adriani’s – Preserved Data Space. A persuasive case of brutally but lovingly worked machines serenading sawtooth waves of an infinite Weiter, a dissolving timeframe – the longest after hour I’ve been to, it lasts more than a year now already and counting.

Written by Michael Aniser.

The album follows the recent January 2021 release of single 'O.N.E.' and the band's sixteenth studio album K.G (the second volume in the band's previous explorations into microtonal tunings), as well as Live In S.F. '16 (ATO Records), a live album recorded during the band's 2016 U.S. tour stop at San Francisco venue The Independent. As the band enter their second decade – and their frontman still only thirty years old - the creative future of the band, as showcased on L.W., promises to be bolder, madder and more imaginative than ever.

Geschmackvolles Doppelalbum mit herausragenden Sängerinnen. Wenn es allein um die Vokalkunst geht, dann ist die Jazz-Welt fest in weiblicher Hand. Man denke nur an Billie Holiday, Ella Fitzgerald oder Nina Simone. Aber auch Sängerinnen jüngerer Tage, zum Beispiel Sarah Vaughan oder Diana Krall, beeindrucken nicht minder mit ihren verzaubernden Stimmen. Grund genug für das französische Label Wagram, die renommiertesten Sängerinnen der letzten Jahrzehnte mit auf einem Doppelalbum zu vereinen.

Divided into two worlds Life? A long narrow path. Anything else? Yes: people and music. That's it, but still. It couldn't get any more narrow than for Ozan Ata Canani.

I've been asking myself all these years: what has he done to deserve that his art is so ignored? The young Ata was a prodigy on the bağlama, the Anatolian long- necked lute. So good that the great Aşik Mahzuni Şerif took him on tour. At that time Ata was just thirteen. Ata's father was suspicious and forbade him to play music.

In the late seventies, the young adult Ata wrote the first song cycle of Anatolian music in German. He wanted to arrive, live in Germany and communicate with the majority society. He wanted to make audible what was going wrong. The lament was only eclipsed by Ata's infectious optimism. His music is a journey that takes its listeners along. He was obviously ahead of his time, because no one wanted to publish these songs. They found no lobby. Not even the utopias of the German counterculture of the sixties did include the so-called guest workers and their art and culture - which is why Ata's parents' generation did not find a connection in the country. Most of them wanted to return home after their work was done. So what was the point of building bridges to the land of the oral cavity surveyors and the screaming foremen? The Anatolian people of Germany had created their own great structure of music dissemination. They were not dependent on the radio and the department stores. They had their own shops, everywhere. Unnoticed by the German music industry and the local media, companies like Türküola in Cologne or Uzelli in Frankfurt turned over millions of records every year. Türküola is the most successful independent label in post-war history. The records and cassettes, later CDs, went over the counters in their own shops, in greengrocers' markets and at electronics hawkers near railway stations.

Born in San Francisco, Rickey Kelly moved to Los Angeles in 1982.

I first heard Rickey on the local Jazz station and that haunting sound on vibes was just too much to resist. He was working at Hughes Aircraft and didn't have time for gigging in the evening. He had to take care of his family which numbered about six children. I began booking his band soon after meeting him. An artist this blessed should not be working a day job I thought. Rickey soon quit his job at Hughes aircraft and began performing full time. Rickey stayed in his apartment for long periods of time just practising. He often mentioned to me that he needed to stay in isolation to keep his music pure. During Rickey's stay in L.A. he had worked with all the great jazz and R @ B bands. Musicians like altoist Bobby Watson, the legendary drummer Billy Higgins, The Jazz Crusaders, pianist Ahmad Jamal, and one of the most popular artists of his generation Marvin Gaye, often called on Rickey to perform with their bands. As great as these artists were, the addition of Rickey Kelly on vibes seemed to make their music better.Because of his isolation Rickey's music has developed a uniqueness and purity of sound that transcends styles. One reviewer described it as a "childlike quality, a profound innocence”. Relax and listen closely. This is music with a purpose

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Shiva Feshareki, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Shiva Feshareki, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Shiva Feshareki, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Shiva Feshareki, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Der gebürtige Stuttgarter und international renommierte DJ und Produzent Danilo Plessow (Motor City Drum Ensemble) deckt auf seiner Fabric-Ausgabe mit seinem feinen Gespür für Soulfulness und perfekte Instrumentierung mehrere Jahrzehnte, Locations und Genres ab. Raritäten von den 70ern bis heute, die teils bis heute digital nicht erhältlich sind, schmücken das 28-Track-Mixset, von denen 11 Highlights als Full-Length-Tracks den Weg auf die Gatefold-2LP (samt Download-Code) fanden, darunter Plessows exklusiver Kollabo-Beitrag mit den beiden Jazz-Instrumentalisten Francesco Geminiani und Peter Schlamb, sowie Cabaret Voltaires "Taxi Mutant", das hier erstmals auf Vinyl erscheint.

Silent Room, the duo formed by Enzo Carniel and Filippo Vignato is a conversation.
Between the piano of the first and the trombone of the second, two living forces of the
European jazz scene; between France and Italy; between acoustics and electronics. A
patient dialogue initiated on the benches of the conservatory in Paris, which was nourished
by the music of German trombonist Albert Mangelsdorff (to whom the duo paid homage for a
concert at the Cité des Arts in 2014), musical moments shared as a group (Enzo Carniel's
sextet at the Jazz à la Villette festival in particular) and in pairs - for numerous concerts
given on both sides of the Alps - before perfecting their common grammar, giving birth to
their own repertoire, creating their own space.

This first album, Aria, released on the Franco-Japanese label MENACE, was recorded in the
setting of the Villa Cicaletto in Tuscany, whose Silent Room the duo made their own in
September 2019. Carniel had just released Wallsdown, the third elegiac disc of his House of
Echo project (Jazz & People, 2020) and Vignato of an intense live duo recorded with
American cellist Hank Roberts (Ghost Dance, on CamJazz in 2019).

The album is carried by simple melodies, tenuous threads on which the two improvisers who
have slowly got to know each other crisscross and let their voices express themselves. Aria
can refer to the opening of Bach's Goldberg variations, to sung opera arias, but above all to
any expressive melody that develops the imagination. Aria is also the air in Italian: the air
that comes from the breath, the air that fills the room, the air that vibrates and is transformed
into sound. The repertoire is therefore this collection of Arias composed by Enzo Carniel and
Filippo Vignato.

If the duo advocates with this album its jazz heritage - that of improvisation and
conversation, of freedom and virtuosity - and claims to be Carla and Paul Bley, Keith Jarrett,
Gary Valente, Albert Mangelsdorff, Ornette Coleman or John Surman; it also explores the
contemporary colors of electronic music, ambient and Japanese minimalism. The use of the
prepared piano, Fender Rhodes and synthesizers colors the sound space of the acoustic
piano and trombone. The eponymous composition that opens the album in acoustic, closes
it in an electronic version, illuminating the path of the duo between the two universes.

In the almost plant-like composition "In All Nilautpaula", Enzo Carniel evokes the water lily
(in Sanskrit) coming to purify the water around him. On "Babele", Filippo Vignato invokes the
great question of language: thanks to Arias, and therefore melodies, language becomes
universal through music, and only the sensory experience counts.

Born from Carniel and Vignato's desire to create a sound space that would be filled with as
many melodies as silence, a place for listening, dialogue and meditation, Aria is one of those
rare records that contain entire worlds.

After severals EPs on labels such as Lumière Noir, Kill the DJs or Bahnsteig 23, here is the first album of french duo Il Est Vilaine, infused with a "Yellow Magic Orchestra-ish" touch, rooted in the french musical landscape.

A road trip in Brittany as a red thread, the two hooligans of Il Est Vilaine revisit Kawaii pop, crazy rock like DEVO and Detroit techno with a surprising coherence. An album long matured and awaited by the band's fans.

Il Est Vilaine aren’t Bretons, but they sure are tricksters. The Francophiles among you might have caught on to the corny pun in their name (beating a certain presidential candidate to the punch all while turning the name of the pastoral Ille-et-Vilaine region into, literally, “he’s a nasty woman,”) but the real takeaway is that these born-and-bred Parisians don’t take themselves too seriously – especially in an era in which there is much too much of that happening.
It was in 2014 (and on Dialect Recordings) that Florent and Simon tossed their debut 12” into the ring, the rightfully named Scandale – a tight little bombshell released that roused the electronic music scene out of its complacent little catnap.
So there we had it, two outcasts refusing to eat at the same table as the tech-house scene queens, serving up three whiplash-on-the-dancefloor cuts drenched in sweaty hedonistic disco and wrapped in a battered motorcycle jacket (with a gooey post-punk-pop core for good measure.) A clear mission statement right out of the gates, watermarked with mystical incantations and throbbing with rock ’n’ roll’s primitive drive. Everything and the kitchen sink, and a bag of chips – an invitation to just let lose that’s even better than the sum of its parts.

"Two For A Lie" zieht jeden mit gewohnt harten Riffs und einer unglaublichen Power in den Bann. Herman Frank prangert die aktuellen globalen Entwicklungen eindrucksvoll und energetisch in diesem musikalisch imposanten Meisterwerk laut und energisch an!
HERMAN FRANK, der musikalische Big Player ist seit Jahrzehnten im Geschäft und immer noch nicht müde, für seine Ideale einzustehen. Angefangen bei ACCEPT, über VICTORY bis hin zu seinem 2009 gestartetem Soloprojekt und seiner Arbeit als Produzent, gilt der Hannoveraner seit Jahrzehnten als Garant für kompromisslosen Heavy Metal allerersten Kalibers. Wie er mit seinen zuvorgehenden vier Soloalben bewiesen hat, findet das Konzept HERMAN FRANK zweifelslos bei einer stetig wachsenden Fangemeinschaft großartigen Anklang. Nicht zuletzt aufgrund des hochkarätigen Line-Ups der Band selbst: MASTERPLAN-Frontröhre Rick Altzi, Gitarrist Heiko Schröder, AT VANCE und MASTERPLAN-Schlagzeuger Kevin Kott und JADED HEART-Basser Michael Müller geben dem Projekt einen wunderbar harten Feinschliff. Gepaart mit dem unverbesserlichen Streben nach einer großen Zukunft hat HERMAN FRANK sich mit "Two For A Lie" ein Standing i

Unplugged, this is the acoustic album of Noir Désir, the long awaited Unplugged from one of the greatest rock groups. This double album is composed of a recording made in Milan for the Italian radio during the tour Des visages des figures in 2002, the group revisits 7 titles acoustically (Si rien ne bouge, Le vent nous portera, L’homme pressé , Des visages des figures , Les écorchés, À l'envers à l'endroit , Song for JLP). The second disc comes from the TV show “Much Electric” recorded in Buenos Aires in 1997 during the 666 667 Club tour where the group performed 4 titles specially arranged for the occasion (Un jour en France, Fin de siècle, Back To You, Song for JLP). Acoustic brings an unprecedented vision to the songs, the melodies are highlighted, leaving behind for a moment the urgency of the electric versions, to explore the more serene and brighter sides of these compositions. Reviews in London Macadam, France in London, R2, Mojo and L’Echo Ads London Macadam, France in London, and L’Echo

Hella Love, the Hardly Art debut from Marinero, is an album about closing a chapter. It’s Jess Sylvester’s grand farewell, and love letter to his hometown and the place he grew up, The San Francisco Bay Area, before relocating to Los Angeles after finishing his debut release. Using the moniker Marinero (which means “sailor” in Spanish), Jess Sylvester was drawn to this name as a means to honor his parent’s stories -- his father, a sailor, and mother, a Mexican-American who grew up in San Francisco. This record blends many worlds from beginning to end, and as you go deeper it hits harder. It’s his goodbye to The Bay. Pulling sonic influences from classic Latin American groups and international composers from the 60’s & 70’s: Los Terricolas, Ennio Morricone, Esquivel, Carole King and, Serge Gainsbourg Hella Love finds Sylvester fusing classical arrangements with a variety of different genres, evoking a sonic nostalgia blended with other contemporary artists like Chicano Batman, Connan Mockasin, and Chris Cohen. The album was written, played, and produced by Jess Sylvester with help from Bay Area engineer Jason Kick (Mild High Club’s Skiptracing) at Tunnel Vision and Santo Recording in Oakland, California. On the standout single “Nuestra Victoria,” Sylvester shares “It’s my way of talking about gentrification in SF, or specifically the Mission where my mom and family grew up. The song is about a bakery, or panaderia called La Victoria, and was a place where my mother and tias went growing up, a place I also went to that is no longer there.” It was one of the oldest Mexican-American businesses in SF and I wanted to honor it”. “Through the Fog” highlights Sylvester’s exploration of his influences from the Tropicalia movement, weaving bossa rhythms with lush percussion and orchestration. Using SF’s infamous fog as a metaphor for “tough times”, Sylvester expands that it is a dedication to his friends and family who have helped him get through substance abuse issues, heartbreak, and other painful experiences. “There are a few easter eggs in the lyrics for Bay Area folks or people who have followed my music in the past but it’s mostly about getting through something difficult with the love and support from the homies and fam.” The album’s title track, “Hella Love,” summarizes both of his parent’s stories of how they ended up in the bay. The first verse is about his father’s voyage out west as a sailor during the late ’60s while the second verse follows his mother’s experience moving to The Mission District when she was a young girl.


It’s difficult to classify or generalize about Marinero’s music or identity. To him, it’s important to let his music do the talking. “I’m Chicanx, a bay native, biracial, and I’ve luckily gotten to travel and spend time in Mexico and I feel like my personality and specific musical tastes come through on this album. More than these generalizations we often make, I’m just a human who can both fear and love, and I’m just hoping to connect with others to share optimism and experience joy and laughter, even if for a moment.” Lean your ear to the ground because Jess Sylvester has been many things and will continue to share his journey. It is clear this gifted creator has more to say.
-Luz Elena Mendoza

In the eyes of Nana Mouskouri, all these Bob Dylan songs are the stones that made his house and the roof that has sheltered it for sixty years; they were for her guides and landmarks. Each is sacred, each has its secret. That’s why Nana Mouskouri is so happy to present them to us today, brought together in this album. Timeless, they have crossed the ages and more than ever echo the problems of the young generation. The fights against violence, for peace and love are the same today as they were yesterday. Reviews in London Macadam, France in London, and L’Echo Ads London Macadam, France in London, and L’Echo

If there’s ever been a way to describe David Allan Coe, it’s got to be his ability to defy categorization. With over six decades of following his musical muse wherever it’s led, this craggy voiced outlaw has crossed the panorama of American roots music. As well as being a singer, guitarist, songwriter, David is also a magician and a ventriloquist, deep sea treasure hunter, and movie star. His movies included Stagecoach, The Last Days Of Frank and Jesse James, Lady Grey, Buckstone County Prison, Take This Job and Shove It, to mention a few. David signed with Sun Records in 1968 and recorded his first album Penitentiary Blues, all songs that David had written in prison. In 1973, Columbia Records bought David’s contract from Sun Records and he recorded his first Columbia album, titled “The Mysterious Rhinestone Cowboy”, several years before Glen Campbell had a hit with the song, “Rhinestone Cowboy.” Much has been written about David’s past and his lifestyle, but not much about his achievements over the years. From performing on Farm Aid to touring with Neil Young, Kid Rock and Willie Nelson. David’s song, “Take This Job and Shove It” has received multi-million airplays certificate from BMI. His “Greatest Hits” album is multi-platinum and his “First Ten Years” album is gold. David has had sixty three songs on the Billboard Singles Charts, including, “Mona Lisa Lost Her Smile”, “The Ride”, “Please Come To Boston”, “Willie, Waylon and Me”, “Jack Daniels If You Please” and “You Never Even Called Me By My Name” to name a few. David has written songs for Johnny Paycheck, Tanya Tucker, George Jones, Willie Nelson, Leon Russell, Charlie Louvin, Del Reeves, Tamy Wynette, Melba Montgomery, Stoney Edwards, The Oak Ridge Boys and Kid Rock. Both “Would You Lay With Me” and “Take This Job and Shove It” are multi- million seller songs penned by David. Johnny Cash has also recorded David’s songs including “Would You Lay With Me” on his chart topping album entitled, Cash. David has been through a lot in his life but has managed to put his past behind him and move forward with his life. This album was recorded in 2001 live from the Iron Horse Saloon in Daytona, Beach Florida and includes the only recorded version of, I’m An Ohio Boy.

** 12” LP edition of 300 copies with cover artwork and booklet featuring illustrations by Ettore Tripodi ** In September 2019 Alessandro Bosetti was invited by fellow composer and curator Riccardo La Foresta to create a new work for a newly created ensemble as part of a residency program hosted by Centro Musica in Modena, Italy. The very first encounter took place on Skype – kind of a prediction of the forthcoming physically distanced pandemic times. The first, straight-to-the-point question Bosetti posed to each musician was to tell him the history of their life. The materials collected in the interviews subsequently underwent a process of anonymization, selection and cut-up in order to create the imaginary autobiography of Didone, a genderless character on whom Bosetti composed a combinatory poem in 84 aphorisms, six of which have been translated into music. The ensemble consists of extremely different musical profiles: the contemporary soprano Giulia Zaniboni, minimalist banjo and acoustic guitar player Glauco Salvo, and four musicians with a jazz background such as guitarist Luca Perciballi, drummers Andrea Grillini and Simone Sferruzza, and saxophonist Dan Kinzelman (also part of Hobby Horse trio and long-time collaborator of Enrico Rava). Some of the stylistic features of Bosetti’s project Trophies (along with Kenta Nagai and Tony Buck) can be detected here and there. Persistent repetitions, mesmerizing sonic masses and extended, oblique melodic lines are here led by the clear and precise voice of soprano Giulia Zaniboni.



The voice is at the heart of this work: the textual fragments of the autobiographies are filtered through Zaniboni’s contemporary vocality, while informing the instrumental writing as well. Themes and textures unveil traces of words or sentences; fragments of biographies are embedded in the intricate instrumental dialogue between the two drummers. A final layer was added by Ettore Tripodi, a unique and out-of-time visual artist who imagined Didone in a series of illustrations accompanying the poem. "Didone" is a work about the reconfiguration and recombination of identities, where every specific sense of belonging melts into an indistinct swarming of possibilities.



Alessandro Bosetti is a Marseille-based composer and sound artist with a particular interest in the musicality of language and in the voice, conceived as an autonomous object and an instrument of expression. His works enact a dialogue between language, voice and sound within complex tonal and formal constructions, often crossed by oblique irony. He builds surprising devices, often linked to the radio medium and to a tireless reflection on the relationships between music and language, questioning aesthetic categories and listening postures.



His work has been shown in reference venues such as the GRM / Présences Electronique festival in Paris, Roulette and The Stone in New York, Café OTO in London, the Liquid Architecture Festival in Melbourne and Sydney, the Serralves Museum in Porto and the San Francisco Electronic Music Festival. His music is released by labels such as Errant Bodies Press, Holidays Records, Rossbin, Sedimental, Unsounds, Monotype, Weird Ear Records.

Dan Penn has southern soul running through his veins. Penn started out in the early sixties as band leader of various soul combos in Alabama, but he remained out of the limelight for most of his career, instead choosing to write hit songs for other artists. He has been responsible for songs including “Is A Bluebird Blue” by Conway Twitty, “Do Right Woman Do Right Man” by Aretha Franklin, “The Letter” by The Box Tops, “I’m Your Puppet” by Bobby & James Purify, “You Left The Water Running” by Wilson Picket and Otis Redding and many more.

In 1994 Dan finally picked up the guitar and recorded these songs himself for the first time and to great effect: his renditions of “I’m Your Puppet” and “You Left The Water Running” add fragile and beautiful magic to these already great songs.

This incredible collection of songs is available as a limited edition of
1000 individually numbered copies on gold coloured vinyl

Extended Revelation for the Psychic Weaklings of the Western Civilization is the second album by Swedish rock band The Soundtrack Of Our Lives. Heavily influenced bands from the sixties and seventies such as The Rolling Stones and Iggy and the Stooges, the band became popular in both Europa and the United States. Their fame was partially propelled by their songs being featured on popular video game franchises such as FIFA, NHL and Gran Turismo.

The title of this album comes from the Rolling Stones Records’ release of Brian Jones Presents the Pipes of Pan at Joujouka, where the inside liner notes state that “Western Civilization has made us such Psychic Weaklings”. About 50% of the songs on the album were leftover material from the bands debut album, yet this record sounds far more dark and contains influences from psychedelic music. The album was well received and spawned one single: “Black Star”.

One third of the drone trio France and part of the La Novia collective, Yann Gourdon's practice focuses on acoustic phenomena and dynamic relationships with the environment. Having learned to play traditional music from Auvergne by listening to field recordings, Gourdon re-orientates tradition via minimalism, honing in on a place or location's unique vibratory fields, volumes and surfaces.

Guy Gerber’s Rumors recruits Öona Dahl and Amber Cox aka Slumber for a dose of psychedelic house on the ‘Twin Moon EP’ this May.

Slumber’s previous outings for the likes of Nervous, Viva Recordings and Desert Hearts have seen them push an otherworldly, dreamlike sound and this debut for Gerber’s imprint sees the pair turn in the most accomplished expression of their heady aesthetic to date.

Across the release, the duo displays their talent for crafting hypnotic and engaging tracks. From the wistful, muted vocals on ‘Envoke’ through to twinkling closer ‘Twin Moon’, understated atmospherics, soft tones and well-considered production take the forefront, leading the listener through their delicate sound.

Öona Dahl’s solo work has seen her grace the likes of Watergate, All Day I Dream and DJ Three’s Hallucienda and San Francisco-based Amber Cox’s has appeared on Motek Music and Occultists. Since 2009, the pair have been involved with Slumber, a project initially started in Florida from a shared passion for vivid electronic music.

Newly launched Dutch electro label LDI Records follows up their first release from T/Error with a deep and dark four track EP by French producer Franck Kartell. In a homage to masterful science fiction writer Philip K Dick - Side A of Electric Sheep EP evokes scenes from future mechanized worlds. Electric Sheep kicks the 12" off with a melancholic and contemplative moment followed by a steel cold and brooding venture in Voigt-Kampff. On the B side of this release, there is a live mix of Kartell's track Electro Music, a futuristic electro work out with kicks for the dancefloor. The EP completes with Victoria - an ode to the electronic musician Victoria Lukas who passed away in 2020 - with a beautifully poised and contemplative track steeped in synths. Franck Kartell is a French producer who has releases on Between Places, Transient Force, Ukonx Recordings, New Flesh, Bass Agenda and others. Since 2005 he has been producing well thought-out Electro music filled with dark atmospheres and driving rhythms. Specializing in moody, atmospheric electro, LDI Records (Lloyd's Dark Imperium) are an essential label to watch. Distributed worldwide by Clone Distribution, while the Dutch label's main focus is on vinyl releases, available in selected record shops across the globe, releases will also be available digitally.

Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.

Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”.

A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”.

As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed.

The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.

El Grito (Suite Para Orquesta De Jazz) is a showcase for Jorge López Ruiz’s skills as a composer and arranger as he leads a virtuoso orchestra of the likes of Mario Cosentino (alto sax), Baby López Furst (piano), Pichi Mazzei (drums), Gustavo Bergalli (trumpet), Oscar López Ruiz (guitar), Arturo Schneider (flute) and Jorge López Ruiz himself plays double bass on the fourth and fifth movements.

As the album’s sub-title explains, The album is a Jazz orchestra concept suite. Five movements, to be heard as a whole, that end where they begin.

“When I wrote it there was no history of a cyclical work in jazz. But I didn't notice that, I needed to express something and I did it. At that time they told me I was crazy, that such a thing was very difficult to do. But hey, I like challenges”.

Yet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. López Ruiz’s love of film brings a definite cinematic feel.

The title movement opens the album in bombastic style. “El Grito” grabs you by the lapels and refuses to let go. Raw then controlled, it’s by turns stabbing then soothing, with rage weaved in and out of the elegant styles. “M.A.B. = Amor” is our favourite here. With a tense introduction and a patient build, a gentle sax sweeps in to lift everything up to meet the serene piano and soft drums. Elegantly paced, it moves back and forth between deep contemplation and a more urgent call and response between strings and horns. A near-eight-minute, slow motion marvel.

The second side eases in with the beautifully-titled “Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas” (“Up To The Sky, No Clouds, With All The Stars”) a relatively brief mid-tempo piece featuring López Ruiz’s insistent bass notes high in the mix, and again blending the sublime with the emotive with its wild horns and tight rhythm section.

It’s followed by “Tendré El Mundo” (“I Will Have The World”) which also leads with hypnotic bass, but this time swifter, driven by crashing drums, rapid horn conversations and effortlessly cool piano flourishes. Rounding out the suite, “De Nuevo El Grito” (something like “The Next Scream” or “The Scream Renewed”) is a stylish closer. Whilst López Ruiz’s bass shifts the track along, the horns and piano are more restrained, yet no less stunning.

This Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2004, Frank Black Francis is an album of early versions and reworkings of songs from across the Pixies
catalogue. Available on vinyl for the very first time, this reissue features the complete collection pressed on two 140g white vinyl,
housed in printed inner sleeves with an introduction by Frank Black Francis.
• LP 1 contains an acoustic solo demo tape from March 1987 which Black Francis recorded with engineer Gary Smith ahead of the
very first Pixies recording session. Highlights include early versions of future classics such as ‘The Holiday Song’, ‘Caribou’ and
‘Nimrod’s Son’.
• Recorded in 2003, LP 2 features Frank Black’s reworkings of Pixies songs with Keith Moliné and Andy Diagram (of David
Thomas and Two Pale Boys).

We are delighted to announce our next vinyl release. Our main belief is that effort, passion and love for what we do and feel is what gives us complete happiness.

Francois Dillinger with remixes from AUX88, Squaric & Detroit's Filthiest.
F R O M D E T R O I T

This reissue of Cannonball Adderley’s classic 1958 Bluenote album ‘Somethin’ Else’ features Adderley on alto sax, Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass and Art Blakey on drums.
The bonus Riverside album, ‘Portrait of Cannonball’, recorded in 1958 includes Cannonball Adderley, alto sax; Blue Mitchell, trumpet; Bill Evans, piano; Sam Jones, bass; Philly Joe Jones, drums. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “ ‘Autumn Leaves’ and ‘Love for Sale’ will never mean the same after listening to this album, this masterpiece of the 1950’s which hasn’t aged at all.” Jazz Magazine

Concrete presents old archives from Francesco Baudazzi (Violet Poison). Music he did between 2013 and 2014, influenced by his previous releases like "Non Sequitur" (Haunted Air) and "Awakening Messiah" (Bed Of Nails). Four experimental tracks with dark and strong rhythm, Raw and early proto-techno with a cyberpunk attitude. From the droney psichedelia of "Psychic Totem" to the cyberpunk proto-body-music of "Disarticolazione Cranica", from the obsessive monotonia of "LSD Take One" to the ultradark Techno of "Ultrakinesis". Enjoy this Industrial/Proto-Techno journey.

color/ltd

Columbia, South Carolina’s Chaz Bundick (aka Toro y Moi) rose to the fore of the music blogosphere in summer 2009 when he and a few peers made their hazy bedroom recordings the most talked-about sound of the season. Critics across the board took notice of the range of his compositions, and his debut album, Causers of This, showcased his ability to make elements of Brian Wilson’s pop, 80s R&B, and Stone’s Throw hip hop coalesce into a distinct sound that’s as suitable for a dancefloor as it is a pair of headphones.

When Chaz first signed to Carpark Records, the plan was to release two records in 2010 — one electronic and one with live instrumentation — and although it didn’t quite fit into the same calendar year as his debut, Underneath the Pine is that latter offering. This release sees him following the same creative urges to completely different ends. Having spent the year listening to film composers like Ennio Morricone and François de Roubaix, Bundick returned to his home in Columbia, the birthplace of many Toro tracks of yore, to bring his new ideas to fruition. The result of these sessions is an album evocative of R. Stevie Moore’s homespun ruminations, David Axelrod’s sonic scope, Steve Reich-ian piano phrasing, and the pervasive funk of his first record. Underneath the Pine announces a new phase for an artist whose talent defies classification.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2005, Honeycomb is the tenth studio album by Frank Black. For almost a decade, Frank Black discussed
making a “Black On Blonde” album with producer Jon Tiven. In 2005, Black travelled to Nashville and recorded with legendary
local session musicians including Steve Cropper, Reggie Young, Anton Fig and Spooner Oldham.
• Now available on vinyl for the very first time, this reissue features the complete album pressed on 140g translucent-honey vinyl,
housed in a printed inner sleeve featuring photographs by Michael Halsband.
• Stand out tracks include ‘I Burn Today’, ‘Lone Child’ and the title song ‘Honeycomb’.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2006, Fast Man Raider Man is the eleventh studio album by Frank Black. Recorded as a follow up to 2005’s
Honeycomb, Black returned to Nashville to work with a team of all star musicians including Al Kooper, Bob Babbitt, Levon Helm,
Lyle Workman, Steve Cropper, Jim Keltner, Rich Gilbert, Simon Kirke, Ian McClagan, Chester Thomspon, Dave Phillips and
Spooner Oldham.
• Album highlights include ‘Johnny Barleycorn’, ‘In The Time Of My Ruin’ and ‘If Your Poison Gets You’.
• Now available on vinyl for the very first time, this reissue features the complete album pressed on two 140g translucent vinyl.

Das in Texas ansässige Duo Balmorhea ist mit neuer Musik zurück! Nach einer intensiven fünfjährigen
Tournee-Phase haben die beiden Gründer von Balmorhea, Rob Lowe und Michael A. Mulle, eine Pause vom
Touren genutzt, um wieder gemeinsam zu improvisieren und zu experimentieren. Ihr neues Album The
Wind, inspiriert von Meditationen über die natürliche Welt und ihre Zerbrechlichkeit, einer alten Geschichte
über einen Heiligen, der den Wind in ein luftleeres französisches Tal trug, und Gedanken der Klimaaktivistin
Greta Thunberg, die den Atlantik auf dem Katamaran La Vagabonde überquerte, zeichnet eine Reise durch
eine beschwörende Klanglandschaft, die von Echos von Gebetsfahnen, die in einer Himalaya-Brise flattern,
einem alten Harmonium, einer Pfeifenorgel, einem Trio von Kontrabässen, Windspielen und betörenden
Gitarren- und Klavierinstrumenten berührt wird. The Wind markiert sowohl eine Rückkehr zu Balmorheas
ursprünglicher Konstellation als Duo als auch einen Neuanfang als ihr erstes Album, das bei der Deutschen
Grammophon veröffentlicht wird.

In 1980 the trio Humair / Jeanneau / Texier
recorded this album, which was initially intended to
illustrate an animal documentary. The trio did not
know that ‘Akagera’ would become one of the
founding moments of an aesthetic and an ethic of
French jazz which, 40 years later, remains a model
of the genre.
First of all, the instrumentation (sax / bass / drums)
is already singular for the time, then the creative
power of a trio where each musician finds a
cardinal place, very far from a mere rhythm section
accompanying a soloist. Finally, the three
musicians are also composers, each of them
contributing original themes tinged with Africa and
the Savannah, modal and mysterious World Music,
inexhaustible subjects of unbridled improvisations.

LEVARA's union merged in Los Angeles. Singer Jules Galli emigrated from France, while drummer Josh Devine chose L.A. as home versus his native United Kingdom following success behind the kit with One Direction. There they found common vision with Trev Lukather (guitar), son of Toto’s Steve Lukather.
Every tune on the band’s debut emanates from inspiration culled from their lives, and their mission is to rally the globe to connect and groove with the band. These songs display a larger than life sound. A realised vision. Anthemic tunes written and recorded visualising a mass audience becoming one with the body of work. Integrating their personal voices to the live experience. Or simply as a personal soundscape cruising the asphalt with the car stereo cranking.

On 16th April 2021, three years to the day since producer Tim Larcombe and I began work in the studio, my debut album will be
released independently on our label EKT Records.

spell_hope is about finding the hope, the way forward, the light in dark places, the order in chaos, the things that are most
important. It is about creative freedom. Not compromising on integrity and originality, and resisting the shortcuts, the temptation of

an easier road. It is about reaching that end goal, that unstoppable ambition. The power we all have within us to change things, to
make things happen. To keep running even after our legs tell us to “stop!”.

The track list adventures from realms of the organic to the electronic, modern to classic, the understated to the overtly dynamic.
Brimming with an inadvertent frankness which I realised more fully after the event of recording (much of the time when I write I let
my subconscious do the talking), these songs comprise a journal, in words and melodies, of my life up to this point…

“Towers” was written at the piano back in 2013, in the moment I resolved to leave my university course behind in favour of the path
that has led me to writing this now - a song I have since been determined would end up on my first record. “Stronger Heart” at the
first sense of heart-break. “Plans” at my first sense of true partnership. “Stones”. “Big Bad Thoughts”, “Small Things” and “Spell
Hope” reactions at various points to the difficulties and destitution of my chosen career piling on top of other issues (- we all have
‘em right?), over time challenging my determination and mental stability.

John Carpenter, the Legendary Director and Composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ out February 3rd on Sacred Bones Records. In anticipation of his debut release, Carpenter shares a new track “Vortex,” a custom-designed video for “Vortex” set to clips from different Carpenter films and the full album artwork and track list.

John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

“Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No

release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

Cuernavaca / Stateville / Frankincense And Myrrh / Apsara / Ancestral / Spin / Zincali


Approaching his eighty-fifth birthday, sharp and lean, Phil Cohran lives a couple of blocks from the lake on the north side of Chicago. His modest apartment is filled with a palpable richness. His cornet and trumpets, zithers, French horn, harp and frankiphones (an electric kalimba of his own invention); his beloved telescope; African art; a mural of the Chinese monastery where Muslim monks bestowed on him the name Kelan ('holy scripture'); hand-printed posters from the culture wars of 1960s Chicago; all reflect a life dedicated not just to music, but also to science and astronomy, to history and activism. In its range of subject matter the track-list of Kelan Philip Cohran & The Hypnotic Brass Ensemble embodies this invigorating and all-embracing curiosity: a Mexican hill-town filled with perfume and flowers... an Illinois state prison where Cohran taught inmates in the 1960s... heavenly dancers in the temples of Cambodia... a tribute to a sixteenth-century Venetian musicologist. Welcome to the musical world of Kelan Philip Cohran.
Cohran was born in Mississippi and grew up in St Louis. In the immediate post-war years St Louis was a jazz heartland, home of stalwarts like Clark Terry and Oliver Nelson (both of whom he played with), not to mention a genius called Miles Davis. In 1950 Cohran moved to another heartland, Kansas City, where he played trumpet in one of the hardest swinging swing-groups, led by Jay McShann (who famously had given Charlie Parker his first job). With McShann he spent 'the best year of my life', touring as far as Mexico and playing proto-rock'n'roll in Texas with the likes of Big Mama Thornton on vocals. Back in St Louis Cohran led his own group, the Rajas Of Swing, whose show involved wearing red jackets, grey slacks, blue suede shoes and turbans.
Then in the mid-50s he moved to Chicago. He had a small group with a friend, the legendary tenor saxophonist John Gilmore, whose regular gig was to play at Sarah Vaughan's weekly 'birthday' parties, an excuse for the Sassy One to splash the cash and have some fun. ('What, Sarah Vaughan would sing with you and John Gilmore' 'No way, Sarah didn't sing, she was too busy partying.') And in 1959, through Gilmore, he was invited to join Sun Ra's Arkestra, at a crucial period in the evolution of that extraordinary group. Effortlessly wrapping traditions as divergent as boogie-woogie and electronica in an Afro-centric, intergalactic mythology of his own making, Sun Ra casts a huge shadow across conventional narratives of jazz history. 'With Sunny', Cohran simply says, 'I found my own voice'.
You can hear the emergence of this voice on the LP Angels And Demons At Play, recorded in 1960 - Sun Ra's masterpiece from the period. On the track Music From The World Tomorrow, against the urgent whipped and chopped percussion of the Arkestra, it is Cohran's zither, initially bowed and then plucked and strummed, which is the track's magic ingredient. More profoundly it was Sun Ra's example - his defiant self-confidence and sense of purpose - that set Cohran on his own (to quote another Ra composition) 'pathway to unknown worlds'. Indeed this spirit of self-belief led Cohran to turn down the invitation to accompany the Arkestra when Sun Ra moved east in 1961.
Staying in Chicago, Cohran founded the Affro-Arts Theater and performed with the Artistic Heritage Ensemble, recording the group for his own Zulu Records imprint. (Co-members went on to become Earth Wind & Fire; Cohran taught the group's leader Maurice White the mysteries of the frankiphone). The AACM, a musicians' collective of immense influence and importance, had its first meeting in Cohran's front room. With Oscar Brown Jr and Gene Page he wrote and performed in a show celebrating the nineteenth-century Afro-American poet Paul Lawrence Dunbar. He taught music tirelessly in schools and prisons. His studies into music theory and history led him to the discovery of a key book in his life, Gioseffo Zarlino's treatise on harmony, published in Venice in1558. Astronomy is another passion and another area of expertise. One of the gems of the Cohran discography is African Skies, with its lovely harp playing, commissioned by the Chicago Planetarium in 1993.
In Chicago he also raised a large family. Many of his children have gone on to become professional musicians; eight of them are the Hypnotic Brass Ensemble. For each of them, their first teacher was their father, who famously insisted on giving them music lessons not just for several hours after school, but for several hours before school as well. Their father's music was all around them as children; they all vividly remember lying in bed at night not being able to sleep because their father was rehearsing with the Jazz Workshop downstairs.
For the Hypnotic Brass Ensemble, the voyage to where they are now - whether tearing up festivals from Glastonbury to Melbourne, or touring with Gorillaz, or recording their first album on Honest Jon's - has involved a necessary stepping away from their father's shadow. Phil Cohran is the first to recognise this, happily allowing their sound - heavy on the funk, with the urgency of hip hop never far away - to blossom.
But likewise this album is for all of them a natural step. Recorded in Chicago in June 2011, the idea was beautifully simple - 'my music and their band' as Phil puts it, 'we don't have to rattle on more than that'. Only to point out perhaps that here - in the majestic surge of Zincali, for instance, or in the sheer verve and bounce of Cuernevaca - is music not just filled with the warmth of home. This is music that plumbs the depths and rings with joy.

'Cuernevaca is a town in the mountains south of Mexico City. I was there in 1950 when I was on the road with Jay McShann's band. It's a place close to paradise, a city filled with the fragrance of flowers. I always wanted to go back... In 1974 I taught workshops at the prison in Stateville, the Big House where Al Capone spent time. There's a huge wall around the prison, and once I took Hypnotic there - ha - to see what the future holds for them... Makeda, the Queen of Sheba, sent a caravan of gifts to King Solomon - a caravan that took more than a day to pass one point - and the main gifts were Frankincense And Myrrh... I wrote Apsara in 1967, when Jackie Kennedy was in the news with her visit to the temple of Angkor Wat in Cambodia. Apsara were celestial beings, dancers who brought forth the civilization of ancient Cambodia, by dancing in the holy nectar called Amrita... Ancestral is a meditation drone written for my Friday-night residence at the Ethiopian Diamond Restaurant in Chicago's Rogers Park... Spin is the latest of these compositions. Everything in the cosmos spins, from the smallest objects we can see in a microscope to the largest galaxies. Spin is the motion of all things whether it looks like it or not... Zincali is a name Spanish gypsies call themselves. 'Zin', East Africa; 'cali', the people. One of the offshoots in my research into Moorish Spain has led me to Gioseffo Zarlino, the sixteenth-century master of music at St Mark's in Venice. It's said that Bach lost his sight reading Zarlino's treatise on counterpoint. His greatest composition is his setting of the Song of Songs - 'Nigra Sum', 'I am black'. This is my tribute to Zarlino and to the zincali.'

Mother Freedom Band’s Cutting The Chord is a funky modern soul classic. It’s both a criminally under-appreciated album and a hard-to-find record so we’re delighted to be giving this sweet disco-funk groover the reissue treatment it deserves.

Produced by the great Al Goodman from The Moments and originally released in 1977, Cutting The Chord seems to be one of the lesser known releases on the curious, and often great “All Platinum” label. Other than a 7" of a couple of these tracks, the only thing that the band seem to have released is this album, and what an album it is. Unbeatable soul-funk of the highest quality.

The album bursts open with “Love Will Stay In Your Corner”. It’s a soulful dancer that reliably slays any funk set you care to drop it in. It’s followed by the lithe disco funk “Flick Of The Wrist” that’s all bubbling baselines and elegant horns. The groovy, horn-enhanced sweet soul of “Gotta Get It Back” is equal parts heartbreaker/hip-shaker and the acidic organs on “Mr Brother” are an experiment in synth soul.

Perhaps the group’s best known track, “Beautiful Summer’s Day” might well be worth the price of an original copy alone. It’s pure piano-driven paradise soul. A tropical birdsong intro sets the scene of a warm, perfect sunshine day and the lead vocal soars over the lush, clean production. The tempo oscillates between contemplative and stomping. Essential.

The brilliantly-named “(Assistants Rag) When You’re Hot, You’re Hot” opens side two. Another huge highlight, its title refrain repeated over this laid-back, power-funk workout. It still sounds incredibly modern, like something off the last D’Angelo record, and if Public Enemy and Diamond D both sampled it you know it knocks hard.

The horn-heavy, clav-stabbing-stomper “We Like To Boogie” keeps things fast and funky before the airy, heavenly harmony soul of “Come On Home” mellows us all out. Things pick up again with “Touch Me”, and you might recognise its addictive elements sampled in Jay-Z’s Kanye West-produced “A Star Was Born”. The magical, reggae-tinged, gospel-influenced “Sweet Love” closes out this assured, classy set.

We dare to say that Cutting The Chord is a rare example of a funk-soul LP which is killer from start-to-finish. Sure, there are the stand-out bombs, but the whole thing is a complete and varied album of feel-good vibes held together by its fluid horns, tight, tight rhythm section and beautiful vocals.

Mastered for vinyl from the original analogue tapes by Simon Francis, cut by Pete Norman and artwork restored at Be With HQ, this new edition should hopefully stop this album slipping any further into obscurity. It’s just too good to be forgotten.

For a good number of Spanish musicians, attracting attention from somewhere outside of Madrid was a mission impossible for several decades. While the Movida Madrileña, commonly referred to as the “Madrid scene” in English, stirred things up and made front page news on the basis of new wave music, musicians that were on the fringe or directly beyond it had few platforms from which to be heard.
Although Javier Segura has been recording music in his studio almost continuously since the 70's, his relevance and recognition as a musician has been limited to underground music circles. The fact
that he worked outside of the country's spotlight of power kept his name relatively unknown for years, something which even the arrival of the internet could not illuminate. Only the appreciation of a few collectors and disc jockeys kept the light on.
Passat Continu delivers here the first ever compilation by the spanish musician Javier Segura (born 1955), who worked as an isolated cell from his home studio in San Cristóbal de La Laguna, in the Canary Islands. Working for decades from the underground, Segura build up some brilliant ideas producing dozens of richly textured songs, stretching borders on ambient, experimental rock, dreamy folk or concrete music. Using guitars, rhythm boxes, trumpets synths or simply pedals, Segura managed his own career and produced while published a handful of albums by himself: El ser y el tiempo (1976), No mires atrás (1983), Nostalgia de lo humano (1986), Lamento bereber (1989), El ángel caído vol I, la lluvia azul (2004), Levántate (2005) and El orden y el caos (2006).
He also teamed up with Juan Belda on only impro project Arte Moderno (1981-1982), using the Roland TR-808 rhythm box as a main actor for the first time in the post-Franco’s Spain era.
'El sol desde oriente' uses three of that songs and add six more previously unreleased productions from 1980 to 1990, probably his most active period of time. Available on vinyl and digital through
Bandcamp. Digital version includes two extra tracks. Vinyl comes with insert with unseen photos and liner notes by Javier Segura and Passat Continu’s curator David G. Balasch.
All music written by Javier Segura except Jardín marroquí, written by Javier Segura and Juan Belda
under the name of Arte Moderno.

Next up for Shall Not Fade's new Killer Cuts series is London-based DJ and label boss Tom Frankel. The up-and-coming producer has gained attention and respect for his slick techy house cuts that take from a range of classic house and UKG sound palettes. He makes his debut on Shall Not Fade with Milestones EP, six tracks of skippy house that reminisces early 90s raves.

The record meshes modern sounds with nostalgia; "Better Perspective" is a pulsing laid back house track but with a swerving bassline that gives it edge. Frankel experiments with the sounds of a warehouse rave in a nod to dancefloor romance, "Mandy Cuddles" - melding the classic M1 house piano with searing jungle vocals that cut through the melody like a laser.

Showing the cheekier side of his production, "Slippery Nipple" pays homage to filter house, a skippy garage bassline bringing it up to date. The funkiness of this one is unavoidable, making even the most static hips move; onto "Peak District", a throbbing 90s style roller to keep the pace going.

The two final tracks dabble in the darker end of Frankel's sound palette; "Tapas" adds heavy bass and percussive organ stabs to a clean house sound while "Cuckoo Land" is a deep, sweeping club track that formed a spaced out end to an otherwise high-intensity EP.

Dua releases the deluxe Future Nostalgia album ‘The Moonlight Edition’ on 11th Feb at 11pm GMT. The Moonlight Edition is a celebration of what can only be described as the album of a generation. Future Nostalgia was the most streamed album in a day by a British female artist globally, in the UK & UK. Dua spent more weeks at the top of the album and radio chart than any other artist last year. Future Nostalgia will go platinum in the UK at the end of Feb, just ahead of its first birthday at the end of March.

Future Nostalgia (The Moonlight Edition) features four previously unheard tracks ‘We’re Good’, ‘If It Ain’t Me’. ‘That Kind of Woman’ and ‘Not My Problem (feat. JID)’ and will include the top 10 smash hit single from Miley Cyrus Feat Dua Lipa ‘Prisoner’ which has reached 250m streams worldwide. Also on the album is ‘Fever’ with Angèle, which spent three weeks at #1 in France and 11 weeks at #1 in Belgium and J Balvin, & Bad Bunny ‘UN DIA (ONE DAY) (Feat. Tainy)

We’re Good is the incredible lead single from the deluxe album and both creatively and sonically pushes boundaries of what people expect from Dua. The official video, released on 12th Feb at 5am GMT with a huge global promotion confirmed, follows the story of a lobster in a tank on the Titanic, escaping when the ship sinks. We’re Good is the focus release.

Since the release of her first single in 2015, Dua Lipa has become one of the music world’s hottest young artists. Her eponymous debut album has eclipsed 6 million sales worldwide, with single sales reaching 80 million and the video for her break-out hit “New Rules” (“the song that changed my life,” she says), made her the youngest female solo artist to reach one billion views on YouTube. She made BRIT Award history in 2018 as the first female artist to pick up five nominations, with two wins for British Breakthrough Act and British Female Solo Artist. She then went on to receive two Grammy awards for Best New Artist and Best Dance Recording for “Electricity,” her collaboration with Silk City the following year. At the end of 2019, Dua performed her Number 1 global hit single ‘Don’t Start Now’ at the MTV EMAs, ARIAs and AMA’s in the lead up to the release of her latest album, Future Nostalgia. Her sophomore record was released in March 2020 and surpassed 294 million streams in its first week and has now exceeded 6 billion streams across all of its tracks. The platinum selling album Future Nostalgia has been nominated for 6 Grammy Awards including Album of the Year & Best Pop Vocal and also holds the record for the most streamed album in a single day by any British female artist. Dua has also had the longest run of 3 tracks in the top 10 by a female artist since 1955 and spend more weeks at #1 in the UK than any other artist in 2020.

2021 is shaping up to be another huge year for Dua Lipa, with a 12 date UK Tour, the Grammys and Brit awards in May. Get ready to hear the name Dua Lipa on everyone’s lips.

Live at L'Olympia, Paris, France, October 14, 2019.

Recorded by our sound crew:
Sam Joseph, Stacey Wilson, Gaspard De Meulemeester

Drums: Michael Cavanagh
Guitar / Keys: Cook Craig
Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith
Vocals / Guitar / Keys: Stu Mackenzie
Drums: Eric Moore
Bass: Lucas Harwood
Guitar / Vocals: Joey Walker

Mixed by Stu Mackenzie
Cover design by Jason Galea

Repress

Dakar, Senegal. From this hostile land Midnight Menace is the latest KAOS assigned and one of its kind. You all with your support to the label via bandcamp fixed his computer so he can deliver this first one as an introduction. His Schranz/hard techno beat dives into a trance-mission direct to your brain in order to make your body shake.

Moving on to France JKS is half of Jawbreakers his techno rave music is really influenced by iconic figures from the 90's rave culture (Dave the Drummer/ Stay up Forever) name track is a retrotesque beat with a powerful bass-line moving between trance, body music and electro clash. With a ton of class.

Next one on the list delivering one of those weirdo tracks that from time to time we love to showcase on our compilations. DJDJ debuts with a darkroom alike anthem. Job Sifre and DJ Dorien punishing with a high intensity Body music song, taste their Bloody Mary.

Closing this record P.E.A.R.L goes pure HEARTCORE, with his already known Spanish primitivism, a gabber kick and a dismounted amen break dissolves into a mood melody to chill a floor at the peak ready for the next explosion.

This are HEARTCORE ESSENTIALS pls use them responsibly.
#oftenplusneverminus8

Jean Philippe Smet went to a different type school: while education came second, he spent most of his time in music halls. He began studio recording at 17 and was still there almost 60 years later, at 74. You can fool people for a long time and an audience for a brief moment, but no one could have fooled such a diverse fanbase for 57 years. There are only few examples, in France or anywhere else, of such longevity in the music industry.

Not only did Johnny Hallyday attract a horde of admirers around him, but he also never stopped growing his fans who stayed with him for 57 years. Staying at the top for five decades is only possible for an artist who combines sincerity with talent.

It is that combination of gifts and personality, along with the exceptional composers and writers surrounding him, that can explain why three years after his death, people are still looking for the slightest opportunity to get together and celebrate their idol.

There’sone word that unites everyone who loves Johnny Hallyday with the ones who don't; and this word is 'Respect'. This record is available in crystal clear with a printed inner sleeve!”

On “Skeleton Elevator”, a hair-tingling, spine-popping, ribcage-rattling slab of twisted tundra boogie, Finland’s Cosmo Jones Beat Machine have their bony fingers on the global pulse of underground rock’n’roll, invoking the spirits of Beefheart, the Fall and Funkadelic. Cosmo Jones Beat Machine have a history that spans over two decades and starts in the woods and the wild in eastern Finland. Over the years the band have lived through five album releases, countless lineup changes and furious live appearances around Scandinavia and Europe that have brought the band a minor cult following. Skeleton Elevator is their sixth album altogether and the first in six years. The six years spent in cultivating the album now at hand have further tempered the band’s trademark sound, which is comprised of primitive but captivating rhythms and a terrifying racket. The vocalist Pharaoh Pirttikangas’ trademark raspy delivery, which has deepened over the years, weaves stories dug up from the Mississippi Delta in the pale moonlight and distilled through an eastern Finnish swamp. The new album’s Beefheartian clatter is at times spiced with influences from unexpected directions such as disco (Minimal Brain Dysfunction Generation) and Funkadelic-style space funk (Transformed). The band recorded the bulk of the album during a 24-hour session without sleep, which only adds to the record’s pleasantly unpolished, frantic edge.

With unfettered access to the Zappa Trust and all archival footage, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time. Alex Winter’s (Bill & Ted’s movie franchises, The Lost Boys) assembly features appearances by Frank’s widow Gail Zappa and several of Frank’s musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others. The soundtrack is a perfect complement to the film available as a limited edition 5-LP 180-gram vinyl set for the Zappa completist. Showcasing 69 total songs, there are 12 previously unreleased recordings from the Zappa archive along with his 1978 Saturday Night Live performance; 24 additional Zappa songs from his extensive catalog spanning four decades; songs from Zappa’s labels Straight / Bizarre Records like “No Longer Umpire” by Alice Cooper and “The Captain’s Fat Theresa Shoes” by The GTO’s; 2 classical compositions by Edgard Varese and Igor Stravinsky; and 26 Original Score cues newly composed by John Frizzell for the documentary – all of which give the universe a sonic exploration into the musical brilliance of Frank Zappa. A 2LP edition on 180-gram clear vinyl will also be available, collecting together eight of the unreleased recordings from the Zappa archive, the SNL performance and 13 recordings from Zappa’s extensive recording career.

With unfettered access to the Zappa Trust and all archival footage, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time. Alex Winter’s (Bill & Ted’s movie franchises, The Lost Boys) assembly features appearances by Frank’s widow Gail Zappa and several of Frank’s musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others. The soundtrack is a perfect complement to the film available as a limited edition 5-LP 180-gram vinyl set for the Zappa completist. Showcasing 69 total songs, there are 12 previously unreleased recordings from the Zappa archive along with his 1978 Saturday Night Live performance; 24 additional Zappa songs from his extensive catalog spanning four decades; songs from Zappa’s labels Straight / Bizarre Records like “No Longer Umpire” by Alice Cooper and “The Captain’s Fat Theresa Shoes” by The GTO’s; 2 classical compositions by Edgard Varese and Igor Stravinsky; and 26 Original Score cues newly composed by John Frizzell for the documentary – all of which give the universe a sonic exploration into the musical brilliance of Frank Zappa. A 2LP edition on 180-gram clear vinyl will also be available, collecting together eight of the unreleased recordings from the Zappa archive, the SNL performance and 13 recordings from Zappa’s extensive recording career.

Daughters of Darkness is a 1971 English-language Belgian horror film. Directed by Harry Kümel this cult erotic vampire film stars Delphine Seyrig, Danielle Ouimet, John Karlen, and Andrea Rau. The film was well received, and a retrospective poll by Time Out in the early 2010s placed the film at number 90 in their top 100 horror films.

Its score was created by multiple award winning composer François de Roubaix. It has long been a much sought after title, with De Roubaix’ son Benjamin commenting that the “composer achieves a perfect balance and the result is a bleak and eerie soundtrack that stands on a par with the music of Ennio Morricone in A Lizard in a Woman’s Skin or - in a different style - that of Isaac Hayes for Shaft”. Parts of score would eventually be sampled by several hip- hop artists, including American rapper Lil Wayne on his song “President Carter”.

Kleistwahr is the solo project of Gary Mundy, the legendary power electronic and noise-rock musician who is a founding member of Ramleh and runs the highly influential Broken Flag label. Solemn drones and elegiac long-form passages gird Kleistwahr’s Winter, which often chimes, glistens, and glows through a unhurried constructs for organ, synth, guitar, and electronics. Yet Mundy pivots throughout with triumphant explosions of shrill noise, redlined overload, and harrowingly anguished vocals from the great unknown. Quintessential Kleistwahr.

Winter was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some.

With the necessary reissue of Winter, The Helen Scarsdale Agency will embark upon the reissue of much of that material from On Corrosion.

"Stunning travels through the free-jazz classic extravagaza. An incredible mental approach featuring Franz Beckerlee, Hugh Steinmetz, Steffen Andersen and afro-american drummer Sonny Murray. A must have collectable record."

LTD Yellow LP+MP3

Party tribe in a balkantek style !! At least something to complete the famous Balkantekl 001 in the miw ! And the Pin Up and the Resh G stuff...
DON'T MISS you deejay of the "bad vibes Full-stop" !!

Beautiful and highly collectible item: 2xColored LP (Orange / Translucent) + Booklet + Gatefold. Both CDs and 2LP contains download code. Official licence with SNK.

The soundtrack for the sequel to SNK's classic fighting franchise, ART OF FIGHTING 2, is now available on vinyl! Featuring 34 breathtaking NEO GEO tracks across 2-LPs and CD, take the ART OF FIGHTING 2 soundtrack for a spin and relive the classic days of SNK music.