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Freddie Gibbs and Madlib release their new album, Bandana, via Keep Cool/RCA Records and MadlibInvazion/ESGN. The album includes previous releases "Flat Tummy Tea," "Crime Pays," and "Giannis" featuring Anderson. Paak. The album is the pair's follow up to their 2014 critically-acclaimed debut Piñata, and includes additional features from Pusha T, Killer Mike, YasiinBey, and Black Thought.

The duo's seamless collaboration juxtaposes two giant talents: Madlib,the prolific producer with a record collection spanning all genres and eras, an adept sampler, peer to the late J Dilla (his collaborator on Champion Sound and his musical soulmate), foil for DOOM, hip hop's Charlie Parker, with whom he created the landmark album Madvillainy. Freddie Gibbs, the gravel-voiced braggadocios rapper, a vocal athlete, a star-on-the-rise knocked off course who refused to give up and has since offered some of the most compelling rap music in the past ten years.



On Piñata, Madlib offered Gibbs, then a gritty street rapper from Gary, Indiana, a chance to expand his captivating storytelling, giving him the dramatic backgrounds for his brutally-honest, soul-scraping lyrics. As a pair, Freddie and Madlib exude a natural chemistry and craft an alchemical music, appealing to everyone on the hip-hop spectrum.



Freddie Gibbs and Madlib are also set to play a string of shows in the U.S. and Europe this summer, which kicked off earlier this week with a sold-out, two-night residency at The Roxy in Los Angeles. They're set to play at MoMa PS1's Warm Up series in New York, Paredes De Coura Festival in Portugal, and Made in America in Philadelphia later this summer before heading off to Europe again in the Fall. Additional dates to follow soon.

12" EP. Azmari is thrilled to announce the release of their fourth opus, 5-track EP 'In Oculis'. The EP is a reflection of the band's collective desire to reinvent themselves. With a more minimalistic approach, the four musicians have created an eclectic, intense, and vibrant body of work, recorded during various residencies in Belgium and abroad. The result is a fusion of genres that range from powerful grooves to cinematic jazz, from floating melodies to entrancing soundscapes.

For this new project, Azmari teamed up with a long-time collaborator, Guillaume Souffrice (alias Mosso Mosso), who had already been Azmari's guitarist in the band's early days. Souffrice's expertise as a music therapist and multi-instrumentalist, combined with his passion for cross-cultural rhythms and melodies, adds a new depth and dimension to the band's sound.

Souffrice's extensive travels have taken him from Iranian Kurdistan, where he studied the daf (a large frame drum used in Sufi ceremonies), to northern India, where he immersed himself in the modal subtleties of the shehnai (Indian oboe). His love for psychedelic guitar tones and the classic wha-wha pedal remains at the heart of his musical approach, creating a fusion of tradition and experimentation.

The EP opens with 'Night Plants Can Run,' a track that starts with a rhythmic loop on the Berimbau, a Brazilian percussion instrument traditionally used in Capoeira. The song offers a steady, groovy journey between Rio de Janeiro and Sarajevo, with a guitar theme doubled by the saxophone, all underpinned by a deep 4/4 groove. The middle part of the track introduces a lot of percussion (an Azmari signature move) that gives a sense of urgency and chase, inspired by the band's experience playing the track in the studio, imagining a pursuit through the depths of the Amazon.

Next, 'Disassembling the Matrix' takes listeners on a 9/4 march that feels both elusive and powerful. Born from a jam session where an arpeggiator loop wouldn't stop, the band decided to continue with it, highlighting the beauty of a spontaneous creation once again. 'Lizzard's Dream' is a guitar-driven trip that gradually intensifies in energy. The song surprises with a sudden groovy break - a moment that was initially the core of the track - before returning to its soft and introspective theme, closing out the A-side of the vinyl.

The fourth track, 'Eyelights,' was born from the shores of Vevey Lake in Switzerland. It reflects the result of a long period of mental observation and rhythmic exploration. Three different time signatures were used to create the song's intro, which comes together as they go along. The melody loops with a peaceful and nostalgic vibe, creating a dreamlike atmosphere. Under the direction of Frederik Segers, who produced the EP, 'Eyelights' takes on a cinematic feel, with classical upright piano sounds that are a first for Azmari.

The EP closes with "17th Tiger Print," which takes us to the banks of the Ganges. Souffrice's shehnai leads the track into a hypnotic, hallucinatory dimension, where the interplay between his instrument and the baritone saxophone creates a textured, mystical atmosphere. This track encapsulates the essence of Azmari, a sound that bridges cultures and emotions in a minimalist yet highly effective way.

'In Oculis' marks another milestone in Azmari's musical evolution, blending the band's signature style with new influences and experimentation. Whether you're a longtime fan or new to their sound, this EP promisesto take you on another ride around the world.

An exclusive 7" re-release of this psychedelic funk ballad from Tulsa's "Outback" Band. As featured on Now-Again's 'More Loving On The Flipside' compilation, "Strangers (In Our Homeland)" epitomises the expression of social & political change during an era of psychedlia infused music. In partnership with the two surviving members of Outback, both Symphonical & Now-Again are proud to showcase the voice of independent artists.

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The origin of "Outback" dates back to the late 50s, a five-piece blues outfit named "Little Lo and the Rest of Us" included music educator & bass guitarist Edward "Cha-Cha" Cherry, saxophonists Eugene "Buggy" Roach & James "Flab" Farley whom, alongside drummer Roscoe J. Dabney III "Roach", Ronnie Wilson on trumpet, guitarists Roy "Rochester" Walker & Michael Collins, would form The Magnificent Seven, the house band for Tulsa's 'Rose Room'.


Alumni of Booker T. Washington High School, The Magnificent Seven influenced & set the standard for the Tulsa sound, as demonstrated through their only single, recorded in 1966, the two part 'Pluck-A-Pluck'. 'The Sevenettes', the groups' female vocal trio, included the rotation of Lena Luckey Wilson, Gwendolyn French, Rose Brewer Lewis, Jeanetta Williams & Maxayn. The Magnificent Seven, led by "Cha-Cha", toured nationally throughout the 60s with their infectious, raw R&B sound, and were the platform for many of Tulsa's talent including Ronnie & Charlie Wilson who would later create the GAP Band.


Roscoe J. Dabney III, the first Black Panther to establish the Tulsa chapter in 1969 known as the NCCF (National Committee to Combat Fascism), proposed the name change to "Outback" in the early 70s. Their sound & formation was changing from R&B to Psychedelic, from the grit to the phase, epitomised by their unique line-up of having two bassists playing simultaneously, both Reggie Cherry & "Chilly" Willie Lewis, the musical foundation to their only recorded single, "Strangers (In Our Homeland)" & "Reggie's Thang".


Song writer & band affiliate, Maurice Pope, produced the lyrics to "Strangers (In Our Homeland)" and handed over the musical attributes to Willie Lewis & Outback to convey his message, as sung by Lena Luckey Wilson. Dabney recalls the song is based on religious scriptures, whilst highlighting the parallel of Black slavery in the U.S.


"Reggie's Thang", written by Dabney's cousin, bassist Reggie Cherry, provides a psychedelic instrumental, a sound which Lena recalls is what set apart Outback from other Tulsa groups. As well as playing clubs, the seated shows provided an environment for the group to showcase their musicianship to those who wanted to be immersed & listen.


Their single, released on Empathy, was recorded in 1972, and are the only known recordings by Outback. Recorded live onto 8-track at a studio located at on East Pine St in the heart of Tulsa's Black community, an independent & unknown studio located on a strip mall.


The Outback members who recorded are:


Lena Luckey Wilson - Vocals

Roscoe J. Dabney III "Roach" - Drums

"Chilly" Willie Lewis - Bass

Reggie Cherry - Bass

Edward "Cha-Cha" Cherry - Keys

Joyce Daws - Trumpet

Roy Walker "Rochester" - Guitar

Robert Luckey "Uncle Bobby"- Percussion

Fredy Berry "Freddy" - Tenor Sax


Band leader & group manager: Edward "Cha-Cha" Cherry

Booking Agent: Ernie Fields Sr.

In 1973 whilst performing in Ft. Worth, TX, Buck Ram approached Willie Lewis backstage and invited him to join The Platters, Lewis accepted. Supposedly, a recording deal was offered to Outback in exchange, which never happened.


The group continued in various formations after Lewis left, however as an integral member, the feeling never equalled their original form and soon after dissolved.


Leon Russell approached Lena Lucky Wilson in 1974 to go on tour with the GAP Band as their backing singer, upon returning Tulsa Lena moved to Los Angeles to pursue her musical career with Leon & Mary Russell amongst various others.


Dabney continued music and became a TV producer & director in 1976.


The only surviving members of Outback today are Lena Luckey Wilson & Roscoe J. Dabney III.

"Fred van Zegveld's album ""Dynamite,"" released in 1969, is a remarkable showcase of his prowess on the Hammond organ. The album features a blend of original compositions and covers, all highlighting Van Zegveld's soulful and jazzy style. The album comprises nine instrumental tracks, with the majority being Van Zegveld's original works. Notable originals include ""Family Blues,"" ""Blue Organ,"" and the title track ""Dynamite,"" which are celebrated for their dynamic Hammond organ performances. The album also features covers such as ""Here, There and Everywhere"" and ""I Wanna Be Your Man"" by Lennon-McCartney, as well as ""Misty"" by Erroll Garner. The supporting musicians on the album include Ruud Jacobs on bass, Louis de Bey on drums, and Rick Beekman on guitar, all contributing to the album's rich and engaging sound. Finally available again on vinyl in a limited edition of 500 copies on translucent red coloured vinyl."

This anthology follows Now-Again's Loving On The Flipside, issued more than a decade ago. And that anthology itself got its start in a different time, a decade even earlier - the era in which Now-Again's Egon and his friends chased down funk 45s and the odd LP for their testosterone riddled, aggressive sound. Often times the funk song on one of their chosen is would be the throw-away b-side, the hasty afterthought the band cobbled together the night before hitting - or while in - the studio because they'd put all of their energies into writing the amazing ballad that would ensure their entry in soul's history books. Every once in a while, that funk song they coveted could have been - in an alternate universe - a ballad. The Third Guitar's "Baby Don't Cry," El Pooks* "I Could Do The Impossible" and Spider Harrison's "Beautiful Day" all fit into this category. That realization notwithstanding, more often than not they shined over the ballads to get to the tough stuff. Then they started flipping those funk records over to find some loving on the flip side. Some marvellous tunes were there to be found. This is the long awaited follow up. Contained within this anthology are some of the greatest soul ballads that go sweet with a beat - or, to follow our tagline, epitomize "sweet funk." Most of these songs have never been compiled. Some have never been issued in any form. Some, like the Ledgends entry here, were sampled to great success (in that case for Freddie Gibbs and Madlib's "Deeper"). Some haven't been sampled, but, like Herb Johnson's entry, are patiently awaiting their day. It should go without saying that we're proud to present this music in good conscience; with the full participation of everyone but the most obscure names contained within. And, for those who we've not yet been able to contact, this is our message: We've found your brethren, we've placed them beside you on an album that we hope you feel is befitting of your collective contributions to soul music and now we're just waiting for you. Though the music you recorded is from the years past, vour time is now.

Waxwork Records is thrilled to release PHANTASM Original Motion Picture Score by Fred Myrow and Malcolm Seagrave. In celebration of the iconic Horror film's 45th Anniversary, this special triple LP features the complete score sourced from the original 1979 master tapes for the first time in any format, a full LP of never before released cues from the Phantasm score recordings sessions, and the newly re-mastered original 1979 score album.

Directed by Don Coscarelli, Phantasm has become a horror classic due to its surreal and unconventional storytelling. Filming on weekends over the span of a year, and working with a budget of only $300,000, Coscarelli and his crew created a bizarre, gorey, and entirely original horror film. Some of the most famous aspects of the film, like the floating silver orb, come directly from Coscarelli’s dreams, which give the film an even more ethereal feel. Composers Fred Myrow and Malcolm Seagrave were inspired by the horror scores of Goblin (Suspiria) and Mike Oldfield (The Exorcist) to create the haunting sounds of Phantasm. Myrow and Seagrave were working with synthesizers in the early days of the instrument. Says Coscarelli, “The synthesizers we used back then were so primitive that you couldn't repeat something; you would program the synthesizer, which means setting all of these dials to create a sound, and you went back and tried to get it again and forget it - it was impossible.

"I recently received notice that our long-term film storage vault in the basement of the historic Howard Hughes Headquarters building on the corner of Romaine and Sycamore in Hollywood was being permanently closed. During the process of moving out our negative materials, I came across the original three reels of Ampex 456 analog tape used in the Phantasm score recording sessions. Listening now to the score, including the outtake tracks, I am impressed with how inventive and adventurous Fred and Malcolm were in their approach to scoring Phantasm."

Waxwork Records is excited to release the definitive PHANTASM Original Motion Picture Score by Fred Myrow and Malcolm Seagrave as a deluxe 3xLP with features including the expanded and complete score sourced from the original 1979 master tapes, never before released score cues from the Phantasm recording sessions, and the newly re-mastered original 1979 score album. Each disc is pressed to "Silver Sphere" metallic silver colored vinyl and housed in a heavyweight triple gatefold jacket. Also included are exclusive liner notes by Phantasm writer, director, and producer Don Coscarelli, an 11""x11"" insert, and full album artwork by Graham Humphreys.

1970s New York: determined to emerge from his powerful father's shadow and make a name for himself in Manhattan real estate, aspiring mogul Donald Trump is in the earliest days of his career when he encounters the man who will become one of the most important figures in his life: political fixer Roy M. Cohn. Seeing promise in young Donald, the influential attorney--who secured espionage convictions against Julius and Ethel Rosenberg and investigated suspected Communists alongside Senator Joseph McCarthy--teaches his new acolyte how to amass wealth and power through deception, intimidation, and media manipulation. The rest is history.

Big'n was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018,Big'n recorded and releaseda new EP, Knife of Sin,via Computer Students. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. Big'n is back once again with a ruthless new album, End Comes Too Soon - their first in 28 years - released via Computer Student. It"sall still here as presentand disciplined as ever - BrianE's powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fred's metallic superstructure of a bass that builds the defined framework of the music, Todd's clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akins' yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, Big'n were shocked and devastated. End Comes Too Soons' title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions - and there are six here, under the common code "XMSN."

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

Triumph And Power« will turn out to be another victory in GRAND MAGUS’ history! GRAND MAGUS was founded by JB Christofferson (vocals/guitars) and Mats “Fox” Skinner (bass) in 1996. Two years later, Fredrik “Trisse” Liefvendahl joined in on the drums and the first two demos were released. In November of 2001 the self-titled debut album – obviously inspired by the late creative period of bands such as BLACK SABBATH or DEEP PURPLE - was published on the European and US market. »Monument« (2003) and »Wolf’s Return« (2005) followed, receiving but praiseful press reactions. On their fourth studio outcome, »Iron Will« (2008) GRAND MAGUS present a redefined style and grand expertise, still acknowledging their own roots, gaining perfect scores with the music press again and being entitled the soundcheck winner with German Metal Hammer. Album number seven got the meaningful name »Triumph And Power« and was released in 2014. 2024 the 10th Anniversary edition will be available on vinyl.

The brainchild of drummer/producer Chiminyo, NRG is more than just an album, label or event. It’s a concept. Born out of a conversation about the UK Jazz scene (is it really jazz?) Chiminyo concluded that this musical expression is less about ‘jazz’ and more about energy (NRG).
So with this in mind, he set about to explore, celebrate and harness this NRG in its purest form. No labels, no promoters, no industry, no control. Just Chiminyo and members of his musical community exchanging (strictly improvised) NRG with audiences and capturing the spontaneous beauty to be shared with the world.
This third edition, NRG 3, features an all-star line-up. Modular synth wizard and Ariwo band leader Pouya Ehsaei, electro synth-pop artist and incredible keyboard/synth player Maria Chiara Argiró, and Hak Baker's trumpet player Sam Warner. And you can really feel the vibrant NRG of the capital pulsating throughout. Raucous dance-floor stompers such as 'Enter the Dragon' and 'Fred not Again' are beautifully contrasted with the dreamy, cinematic 'Avalon'. And the addition of instrumental and vocal guests on the night really adds a special touch. 'Stories Untold' opens with flautist Lluis Domènech Plana's lyrical exploration on bamboo flute before developing into an up-tempo house inspired dance tune, whilst Nadeem Din Gabisi's 'Fire' presents a unique perspective on a trap groove that you simply couldn't imagine outside of the context of NRG 3, and towards the end of the track the audio cuts to camera audio due to an issue with the desk recording, a magical moment that puts you in right there in the room and reminds you that this was a live gig!
It is incredible to think this record is improvised, because each tune comes across as a carefully sculpted master-piece, a clear testament to the incredible musicians on the line-up.

BigʼN was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students™. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon — their first in 28 years — released via Computer Student. It's all still here as present and disciplined as ever — Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions — and there are six here, under the common code "XMSN."

BigʼN was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students™. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon — their first in 28 years — released via Computer Student. It's all still here as present and disciplined as ever — Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions — and there are six here, under the common code "XMSN."

Repress! Get On Down is bringing back one of the best James Brown funk compilations to vinyl. Funky People Part 1 features the top tier of artists from Brown's People Records label, including The J.B.s, Lyn Collins, Fred Wesley, and Maceo Parker. Some of the James Brown organization's all-time best material is collected here, including The J.B.'s "Pass The Peas" and "Hot Pants Road", Fred Wesley's in your face politics through funk statement "Damn Right, I Am Somebody", Lyn Collins' smash hit "Think (About It)" and many more. These songs have been sampled in countless hip-hop songs over the years. Newcomers and diehard fans alike continue to dig into the James Brown and People Records vaults, and the more they do so, the more they realize that it's a nearly never-ending source of truly next-level funk and soul music. Thanks to the exhaustive efforts of Get On Down, this aural goodness will keep flowing to the public.

‘I Got What You Need’ is the statement from a troubadour coming into town to inform and entertain the people. Bearing songs of soul searching, of spiritual uplift, of tunes to groove to. Equipped with a powerful voice and stinging guitar the troubadour lays down his marker and backs up the statement. Two Times UK Blues Award winner Mississippi MacDonald has it all to play that troubadour as he presents his third album on APM Records. The gravelly Gospel tones on If I Could Only Hear My Mother Pray Again, and the imploring emotion on Your Dreams have MacDonald stretching out vocally. The former song in turn also showcasing another tour de force from regular backing vocalist Lucy Randall. Two self-penned instrumentals pay tribute; 3.35AM, to one of MacDonald’s prime influences Freddie King, and Soul City One to the in-house studio sound of Stax / MacDonald continues to be an excellent interpreter of southern soul and two more songs from the stable of Memphis studio and publishing house Ecko in Hard Luck and Trouble and the title track prove this. So too the band’s take on the R&B classic We’re Gonna Make It which in MacDonald’s hands really swings. Sinking is an epic ballad in which to lose yourself completely. The album is rich in variety, vibe and soulful energy. It’s MacDonald’s Blues and a whole lot more. MacDonald is a guest artist with the ‘Take Me To The River All Stars’, performing on stage at Red Rooster, filmed in session with Eric Gales and Jools Holland, and is filmed again at Royal Studios in Memphis on October 1st. MacDonald and band will perform at the UK Blues Challenge on October 8th, MacDonald is special guest of Visit Mississippi in Liverpool on October 18th when they unveil the first ever Blues Trail marker outside The Cavern. MacDonald will perform with Clarksdale veteran Super Chikan. International PR agent Blind Raccoon has been engaged to promote the new album. Last album ‘Heavy State Loving Blues’ was no. 1 on Roots Music Radio Contemporary Blues, no.1 on the IBBA chart for albums of the year 2023, and top 50 on the US Apple iTunes Blues chart, plus plays and a session on BBC Radio 2 Blues Show (Cerys Mathews). Live shows running up to end of March 2025. A singer/ songwriter from London who speaks quietly but makes music with real gravitas. A rising star since winning Traditional Blues Artist Of The Year and Acoustic Act of the Year at the 2024 UK Blues Awards. MacDonald has released two previous albums on APM Records. ‘Heavy State Loving Blues’ in 2023, and ‘Do Right Say Right’ in 2021- selected as a top 10 Blues album of the year in MOJO.

The French producer, Manudigital, behind the now iconic "Digital Sessions," announces a new season which this time highlights the UK scene! After exploring the streets of Kingston, New York, Mexico, and even Trinidad & Tobago in search of ambassadors from the golden age of digital reggae and dancehall, Manudigital has now turned his attention to the vibrant metropolis of London.

Armed with the legendary Casio MT40 keyboard, or "Sleng Teng Keyboard," Manudigital has connected with singers and MCs who have written the history of the UK scene rooted in Jamaican culture: ragamuffin, jungle, grime, drum & bass, stepper, and more. All the developments in Jamaican music born in England over the last thirty years are represented here by a "who's who" of those who have shaped and continue to shape this exciting scene.

2021. Italoconnection, the partnership of Fred Ventura and Paolo Gozetti, released Midnight Confessions Vol 1. Three years on, the awaited second volume has arrived. All of the analogue emotion that characterised the first collection is present from the outset, warm throbs of bass coupled with clean melodies in “The Wait”. Smoky lyrics permeate the nine track album, the unmistakable timbre of Ventura’s voice recanting tales of optimistic encounters and lost love. As with the 2021 release, collaborations with fellow italo romantics are peppered throughout. Francesca Gastaldi returns to work with Italoconnection once again. Having featured on their Humanize EP, Gastaldi’s vibrant voice shines through the smouldering synthlines and robust beats of “Live Forever”. Jaia Sowden takes centre stage for “Just Like Water”. A story of discontent and disconnect is sang over bittersweet keys as eastern undercurrents flow. Contemporary commentary is intertwined with undulating melodies and distant lyrics in “Cold War Lovers”, a cold wave edge cutting through the sounds and words of “Systematic” .The dancefloor surfaces throughout the record. Bodies are pulled tight by the bold and bright bars of “Why” before drifting apart in the lovelorn lamentations of “Lover 2 Lover”. “Europa” pays homage to the machine music of the continent as a litany of influences are drawn upon . The title piece closes. A fragile drum pattern is bolstered by cascading chords, piano notes sailing alongside words by Gastaldi and Ventura. Welcome confessions from musicians who live and breath the synthesizer traditions of Italy.

Blu’s music has been championed by outlets like XXL, Pitchfork, Okayplayer, HipHopDX, and more. In recent years, he has been interviewed by Billboard, Complex, LA Weekly, Noisey, Red Bull Music Academy, and more. Blu has collaborated with prominent artists like The Roots, Logic, Miguel, MF DOOM, Madlib, Anderson .Paak, Lupe Fiasco, Freddie Gibbs, Aloe Blacc, Roc Marciano, Slum Village, 9th Wonder, and more. Classic 2014 album on gatefold 2LP vinyl, now available after years out of print. Good To Be Home features guest appearances by Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, Chace Infinite, Cashus King, and more. L.A. rapper Blu burst onto the scene in the late 00s with the widely acclaimed Exile collaboration Below The Heavens, igniting a West Coast hip-hop renaissance in the process. With his cool Cali demeanor and undeniable lyrical talent, Blu drew praise from fans and tastemakers alike, launching a remarkable career that continues thriving to this day. His first ever double album, the 2014 masterpiece Good To Be Home is an essential part of this story. An unapologetic celebration of Los Angeles music and culture, the album takes listeners on a vivid journey through Blu’s storied stomping grounds. With sweeping strings and hypnotic bass lines supplied by producer Bombay, Good To Be Home features a host of West Coast hip-hop luminaries, including Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, and more. A cohesive collection with 20 tracks and no filler, this classic release is now available again on vinyl after years out of print.

"Spell Shock" ist die fulminante Rückkehr der Satanic Speed Metal-Beschwörer und Provokateure aus Portland, BEWITCHER. Im Verlauf eines Jahrzehnts, während dessen sie musikalische Dunkelheit manifestiert und die von Motörhead und Venom gelegten Grundlagen mutwillig mißbrauchten, haben BEWITCHER bewiesen, dass sie zu Recht zu den meistbeachteten Bands des Undergrounds gehören und mit Bands wie Cavalera, Municipal Waste und Creeping Death (um nur einige zu nennen) den Asphalt aufgewühlt haben. Auf "Spell Shock" geht das Trio nicht nur bei Tracks wie dem bombastischen Opener "Starfire Maelstrom" zurück zum Gaspedal, sondern schwelgt auch im Rock mit "Out Against the Law" oder wird beim elegischen "We Die In Dust" liturgisch. Diesmal haben BEWITCHER niemand Geringeren als den legendären Gitarristen, Songwriter und Metal-Punk-Fanatiker Lars Frederiksen (Rancid, Old Firm Casuals) engagiert, um ihr Hell-and-Back-Chaos zu beschwören, und das Ergebnis ist absolut unheilig. Selten klangen Hellfire so gut. "Spell Shock" ist erhältlich als: Standard CD Jewelcase, schwarze 180g LP im Klappcover, Digitales Album.

Frederik Valentin is a Danish musician, writer and producer. He has been active since the early 2000’s, playing a key role in the Danish rock, electronic and pop scenes. Having collaborated with landmark labels like Posh Isolation and produced each of Yung Lean’s “Jonatan Leandoer96” projects, Valentin has reinvented himself over and over again. ROCK N ROLL WILL NEVER DIE is his latest solo LP, a collection of rock-inflected dance music that calls to mind the scandi alt-pop of the Tough Alliance and JJ.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements - punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones - are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins - Jonah Falco and Mike Haliechuk - weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act - with Tamsin M. Leach and Jack Goldstein centering them on stage - and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements_punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones_are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins_Jonah Falco and Mike Haliechuk_weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act_with Tamsin M. Leach and Jack Goldstein centering them on stage_and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Pianist and composer Bas Bulteel turns his gaze inward after a successful track record as leader of the adventurous energy bomb Wasdaman and as inspirer of his own trio, with which he won the 2014 Klara Music Prize for best CD in the jazz category for the album Coming Home, his debut as a bandleader.

Bas went into residency with visual artist Jan Frederik De Cock which resulted in a unique collaboration where image and sound dialogue with each other, feeding off each other, cursing against each other, loving each other ....

The result has become a profound and layered solo piano record that showcases Bas' versatility as a pianist and composer. Musically hovering between minimalism and avant-garde. Sometimes melancholic and always compelling.

The EP lands hot on the heels of her relocating to London after selling out three
Australian headline shows in Melbourne, Sydney & Brisbane and a packed out
summer of touring across the UK/ EU festival circuit. The multi- hyphenate has
been releasing left- leaning house & techno over the last few years which has
been causing a stir on dancefloors worldwide alongside playing dozens of
festivals across the UK, Europe & Australia (Glastonbury, Lost Village, AVA,
Parklife, Gottwood & more) With DJ support from Bonobo, Fred Again.., Barry
Can't Swim, George Fitzgerald, Romy (from The xx), Confidence Man alongside
international media support from Resident Advisor, Mixmag, BBC Radio 1, DJ
Mag, Triple J, Dazed & more.
Enveloping the space between all-out bangers and bittersweet love songs, Pretty
Girl's new EP is a six- track missive that demonstrates her ability to balance
romantic mood pieces with euphoric club moments. Glittering vocals, high-energy
drums and masterful production provide the musical backdrop for the new EP,
which is laced with symbols of transformation and personal development.

Legend is the second posthumous album from revered Dallas rapper, singer & songwriter, MO3, and follow up to the 2021 posthumous release, Shottaz 4Eva, which peaked at #36 on the Billboard 200. Dropping on what would have been his 32nd birthday, Legend features previously unheard music from MO3 himself, and sees appearances by Tye Harris, BigXthaPlug, That Mexican OT, Money Man, Fredo Bang, Ralo, NoCap & Tory Lanez. The 14 track album includes the previously released singles “AR (Feat. BigXthaPlug & That Mexican OT),” “Blood Money (Feat. Finesse2Tymes),” “Tidal Wave,” & “They Don't Know (Feat. Tory Lanez).” While the loss of MO3 is still being felt, fans continue to celebrate his life and honor his legacy by keeping his music alive. MO3 will forever be a Legend.

Søren Skov Orbit's debut album, "Adrift," is at once subtle and profound. The saxophonist and his collaborators have created something quite special and consistently deep. This record may not easily be classifiable, but the most interesting music creeps between the lines

Danish tenor and soprano saxophonist Søren Skov (Debre Damo Dining Orchestra) and keyboardist Peder Vind co-founded the trippy quintet Søren Skov Orbit in 2016 to explore “more jazzy ideas,” as the saxophonist puts it. Joined by a rhythm section steeped in contemporary improvisation and psychedelia, bassist Casper Nyvang Rask, drummer Rune Lohse and percussionist Ayi Solomon of the legendary 80's Ghanaian roots/highlife band Classique Vibes, the Orbit belts out a richly focused helping of broadly African-inspired modern jazz with a hazy sheen.

On the opening “Notifications of Nothingness,” Skov digs in his heels, a steely but languid unspooling of burnished tenor lines atop condensed, quavering piano and the thick footfalls of bass and percussion. As a tenor player, Skov has done his homework and has a kinship with Albert Ayler, Archie Shepp, J.R. Monterose, and the Dutchman Hans Dulfer, but he clearly has got his own robust phraseology and expressiveness. He also cites multi-reedists John Gilmore, Yusef Lateef, and Bilal Abdurahman as, “some of the players I’ve been listening to the most for the last 10-15 years.”

A healthy dose of reverb is present throughout the album, echoing Alton Abraham’s studio wizardry with the Sun Ra Arkestra or the trance-inducing and compressed fidelity of certain Ethio-jazz and Mystic Revelations of Rastafari sessions. Skov notes that, “everything is recorded live at the same time in the same room. I wanted to do it that way in order to catch the dynamics and authenticity of the music.” There is, in fact, a complex teeter- totter between crisp and hazy execution, achieved by a delicately balanced mix that keeps the group’s sound simultaneously advancing and receding. Vind’s phrasing is terse and introspective, a vibrating echo that nudges and reflects on Skov’s brusque tenor in a dance of sonic displacement.

“Orbiting” pits a chunky backbeat and the teetering, taut hand-rhythms of Solomon against an infectious, almost microtonal piano riff, while Skov’s arpeggios are clean and florid as he patiently rises up from under a carpet of funky loops. Following the freer “Reflections of Rif,” “Naration” lilts with a wink at “Footprints” and tugs between up-tempo polyrhythmic drive, clanging keyboard accents, and the innately steadfast keenness of the bandleader. The coupling of Solomon and Lohse is a big part of the group’s detailed energy; as the leader puts it, “Ayi knows everything about regional differences in drum patterns. He is always listening and super responsive, and his and Rune’s dynamics are amazing.” The music both presents a “vibe” and keeps the door open for engaging well under the surface as repeated listens will be extremely rewarding.

Reflection is also-ran late-'60s British blues-rock, with more rock-oriented takes on the kind of approach used by heroes Freddie King and B.B. King. B.B. King's "You'll Never Know," in fact, is covered here, though most of the material was penned by the band. Steamhammer doesn't put much of an original spin on its sources, or on the British blues-rock form, though this is competent and does generally have a moodier, more downbeat feel than most of the band's competition in the genre. The expressive qualities of Kieran White's voice, though, are limited, as though he's being pinched by something that keeps him from letting go too much. The best moments come when they venture just a little outside of the ordinary U.K. blues-rock model, particularly when Harold McNair adds some jazzy flute; "Down the Highway" sounds a little close to some of early Jethro Tull. Future Jefferson Starship member Pete Sears plays session piano. The 2002 CD reissue on Akarma adds two bonus tracks from 1969 singles, "Windmill" and "Autumn Song," which are more explicit forays into the more melodic jazz-blues-rock direction mined by the likes of Jethro Tull, Colosseum, and Davy Graham in the late '60s, again with prominent flute. ~ Richie Unterberger

Der aus Wien stammende und mittlerweile in Manchester beheimatete Produzent salute (Pronomen mittlerweile „him/ they“, folglich im Deutschen wieder Singular) kündigt sein kommendes Album, „TRUE MAGIC“, an, das am 12. Juli 2024 bei Ninja Tune erscheint. Auf dem kommenden Album von salute sind außerdem Disclosure, Empress Of, Karma Kid, Sam Gellaitry, piri, Léa Sen, LEILAH und Nakamura Minami vertreten.

Mit ästhetischer und auditiver Inspiration durch alte japanische Autowerbung, die salute stundenlang in YouTube-Archiven recherchierte, entwickelte er ein Konzept für das Album, bei dem sie den legendären 1985er Toyota MR 2 W1 in einem Rennen namens „TRUE MAGIC“ fahren. Dieses sehr visuelle Konzept half dabei, den Sound des Albums voranzutreiben und dem Album ein Gefühl von treibender Dynamik zu geben. Die Albumankündigung folgt auf seine allererste Nominierung bei den MOBO Awards 2024 in der Kategorie „Best Electronic/ Dance Act“ nach der Veröffentlichung von salutes EP, „Shield“, die von The FADER als „verträumt“ und von Clash als „Surging with spring-like energy“ gelobt wurde. „Shield“ folgte auf die früheren Singles „Joy“ und „Therapy“ und wurde von Künstlern wie Four Tet, DJ Seinfeld, Floating Points, Mall Grab, Daphni, Skrillex, Fred Again und anderen bestätigt, was ihn zu einer Kultsensation machte und die Bühne für ein größeres Album bereitete. salute wurde mit 18 Jahren in die britische Clubszene eingeführt, nachdem er nach Brighton und dann nach Manchester gezogen war. Dort kam er mit der Clubkultur in Berührung, die sich zuvor nur auf Videos bei YouTube und Boiler Room beschränkt hatte. Von hier aus verfeinerte er seinen unverwechselbaren Sound, der sich aus seinem neu gewonnenen Verständnis für Genres wie Grime, Garage und Dubstep speiste.

Der aus Wien stammende und mittlerweile in Manchester beheimatete Produzent salute (Pronomen mittlerweile „him/ they“, folglich im Deutschen wieder Singular) kündigt sein kommendes Album, „TRUE MAGIC“, an, das am 12. Juli 2024 bei Ninja Tune erscheint. Auf dem kommenden Album von salute sind außerdem Disclosure, Empress Of, Karma Kid, Sam Gellaitry, piri, Léa Sen, LEILAH und Nakamura Minami vertreten.

Mit ästhetischer und auditiver Inspiration durch alte japanische Autowerbung, die salute stundenlang in YouTube-Archiven recherchierte, entwickelte er ein Konzept für das Album, bei dem sie den legendären 1985er Toyota MR 2 W1 in einem Rennen namens „TRUE MAGIC“ fahren. Dieses sehr visuelle Konzept half dabei, den Sound des Albums voranzutreiben und dem Album ein Gefühl von treibender Dynamik zu geben. Die Albumankündigung folgt auf seine allererste Nominierung bei den MOBO Awards 2024 in der Kategorie „Best Electronic/ Dance Act“ nach der Veröffentlichung von salutes EP, „Shield“, die von The FADER als „verträumt“ und von Clash als „Surging with spring-like energy“ gelobt wurde. „Shield“ folgte auf die früheren Singles „Joy“ und „Therapy“ und wurde von Künstlern wie Four Tet, DJ Seinfeld, Floating Points, Mall Grab, Daphni, Skrillex, Fred Again und anderen bestätigt, was ihn zu einer Kultsensation machte und die Bühne für ein größeres Album bereitete. salute wurde mit 18 Jahren in die britische Clubszene eingeführt, nachdem er nach Brighton und dann nach Manchester gezogen war. Dort kam er mit der Clubkultur in Berührung, die sich zuvor nur auf Videos bei YouTube und Boiler Room beschränkt hatte. Von hier aus verfeinerte er seinen unverwechselbaren Sound, der sich aus seinem neu gewonnenen Verständnis für Genres wie Grime, Garage und Dubstep speiste.

In The face of adverse clubbing conditions the irrepressible deejay harvey releases volume three of the mercury rising compilation triptych. Representing what could’ve been and what shall be in the hallowed hall which is Freddys nightclub pikes Ibiza in the future.

Put it on, turn it up, feel the magic till we meet again.

Since roaring onto the scene, the band has cemented themselves as one of British indie's most consistent and successful groups.

The immediacy and carefree attitude are the driving motivations of this superb new release via the band's own independent label, Alt. Records. With creative collaborations including Matt Schwartz (YungBlud), Benjy Gibson (Fred Again), Kid Harpoon (Harry Styles) and The Nocturns (Mimi Webb), this record is for fans of guitar music who are not afraid of big hooks and massive choruses. The result
is their first album without compromise, reflecting the joy and energy they brought to the scene with their debut 'Open Up Your Head' and hit songs like 'Call Me Out' and 'All I Want To Hear You Say'.

Since roaring onto the scene, the band has cemented themselves as one of British indie's most consistent and successful groups.

The immediacy and carefree attitude are the driving motivations of this superb new release via the band's own independent label, Alt. Records. With creative collaborations including Matt Schwartz (YungBlud), Benjy Gibson (Fred Again), Kid Harpoon (Harry Styles) and The Nocturns (Mimi Webb), this record is for fans of guitar music who are not afraid of big hooks and massive choruses. The result
is their first album without compromise, reflecting the joy and energy they brought to the scene with their debut 'Open Up Your Head' and hit songs like 'Call Me Out' and 'All I Want To Hear You Say'.

Black Truffle is pleased to announce Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes.

Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars.

On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

Frederiksberg Records was founded in New York in 2013 by Danish video journalist and music lover Andreas Vingaard. The name, Frederiksberg, is the part of Copenhagen where Andreas grew up and rst discovered his passion for music. As a collector of vinyl records, he's travelled extensively to acquire fresh sounds - Sudan, Ethiopia, Togo, Benin, Trinidad among other places.
The idea for the label emerged when Andreas befriended renowned Jazz saxophonist, Carsten Meinert. Committed to telling the story of Meinert's music the right way, Andreas resolved to take full ownership of the To You re-release (2015). The result has been a rollercoaster journey of running an independent record label.
Frederiksberg Records, with roots in Scandinavian Jazz, will include a wide spectrum of genres - electronic, disco, ambient and more.

Die besten Songs aus den kultigsten Woddy Allen Filmen.

Limited black vinyl. Full colour sleeve with unseen pics of Ron Geesin in his studio doing maths stuff on the back.
Wow! So you’re telling me Ron Geesin made this kooky electro groovy score to a really progressive maths educational programme on Central TV in 1980 and it’s musically anarchic and amazing and it’s never been issued before? Until now. Wow again!!!! And there’s 30 tracks!!! Trunk Records we love you...
Basic Maths was the second educational TV Series for the Midlands-based ITV station for which I composed, played and recorded all music and noises. The first series, also for budding mathematicians in the 7-10 age group, was Leapfrog in 1978 produced by ATV (Associated Television): Basic Maths was for the newly-formed Central Television, the work spanning 1980-1981; both series were of twenty-eight parts.
The most worthy idea for both of these series was to project mathematics into life by means mainly of non-verbal sound and vision, with both animated and live action films, linked by two presenters, Fred Harris and Mary Waterhouse. In my role as Media Composer, I had had quite enough of voice overs, therefore music well under, so this fairly radical educational approach at the time encouraged my creative juices to run unhindered. Of course the sound had to do something with the picture and not just use it as a carrier for peacock display. It had to duet, play with and explain the visual content using novel and engaging techniques, so this involved the usual and sometimes intricate mathematical calculations which constantly exercised my already reasonable school maths.

Der Dancefloor ist vereint, wenn I. JORDAN an den Decks stehen. Auf ihrem lang erwarteten Debütalbum, „I AM JORDAN“ zelebrieren die britischen Elektronikproduzenten fröhlich die kollektive Ekstase als eine Form der Selbstfindung. „Auf diesem Album geht es um Freude.“, sagen I. JORDAN. „Es geht um meine Freude als Trans-Person und um die Freude von Trans-Personen im Allgemeinen, mit Trans-Personen zu arbeiten und gemeinsam diese lustige Musik zu machen.“ Mit diesem Ziel fängt die Platte die Glückseligkeit und Dynamik eines wilden I. JORDAN-Sets ein. Mit ihrer langen Erfahrung als DJs und Produzierende, gibt es schwindelerregende Hommagen an nordische Dance-Sounds wie Donk und Hardstyle, euphorischen Trance und House und viel Raum für Entdeckungen. Entscheidend ist, dass die Platte als persönliches Tanzmusiktagebuch fungiert und eine Zeit des Umbruchs markiert. Nach gemeinsamen Tracks mit Fred Again..., Planningtorock und SHERELLE, Remix-Arbeiten mit Fever Ray, Romy und Eliza Roze und einer Handvoll viel beachteter EPs bleibt das Album dank des persönlichen Gewichts und der musikalischen Breite I. JORDANs größtes Unterfangen. Es folgt auch auf hohe Anerkennung für ihre Arbeit als DJ im Jahr 2023, einschließlich einer Nominierung für den Best DJ Award bei den „DJ Mags Best of British“-Awards 2023, einer Nominierung für den AIM Breakthrough Artist 2023 und einer Platzierung auf Platz 8 bei Mixmags „Top 25 DJs who Defined the Year 2023“.
Trotz ihres eigenen Titels ist „I AM JORDAN“ ein Produkt ihrer Gemeinschaft, wie I. JORDAN erklären. „Jeder ist miteinander verbunden, und die Vorstellung, ein Individuum zu sein, ist ein Mythos... Ich wäre nicht der, der ich bin, ohne alle anderen um mich herum. Meine Freunde, vor allem die, die mich während der ganzen Transition unterstützt haben, meine Trans-Freunde, auf die ich mich verlassen habe, Reddit-Gruppenchats - das ist alles so wichtig. In der Trans-Community schafft das keiner von uns allein.“

Freerange welcome back Salvatore Freda once again for possibly his strongest track yet, along with three very different remixes. Remixer Nebraska has had a string of excellent releases on Rush Hour, with his recent album 'Displacement' getting rave reviews on Resident Advisor.