quête:free son

Following their critically acclaimed 2019 debut album Unfurl, Hidden Notes Records are happy to announce the release of the multi-award-nominated experimental/contemporary folk string duo Fran & Flora’s sophomore full-length album, Precious Collection. Released on Friday 12th April 2024, this album, produced by the duo themselves, explodes in myriad directions expressing the richness of the long-standing collaboration between Francesca Ter-Berg (cello/vocals/electronics) and Flora Curzon (violin/vocals/electronics). With Klezmer and Yiddish song as the predominant inspiration for the record, Precious Collection defies convention, featuring self-penned tunes and unique arrangements pushing their ground-breaking project beyond their virtuosic string playing. Drummers Ursula Russell (Snapped Ankles, Alabaster DePlume) and Simon Roth (Chris Potter, Alice Zawadzki, Adrian Dunbar) feature on the record on full kit and Ukrainian Poik (marching drum) respectively, and Francesca and Flora experiment with bowed cymbals, extended piano techniques, and samples of found sounds.The album was recorded in three different locations - Total Refreshment Centre (London), Big Jelly Studios (Ramsgate) and Great North Sound Society (Maine, USA). The music of Fran & Flora sits in two camps, both steeped in tradition, with material drawn directly from archival recordings, recovered manuscripts and years of study with traditional music masters, whilst simultaneously garnering a contemporary and avant-garde aesthetic, speaking to the more classical and experimental listener. Fran & Flora inject their source material with drones, loops, free improvisation and electronics to create a ‘border-defying’ (Mojo) sound. Their influences range across a wide spectrum of artists and composers from Silver Mt.Zion to Rhiannon Giddens, Lankum, Brìghde Chaimbeul, Colin Stetson, Adrienne Lenker, Shabaka Hutchings and Mica Levi. As string players Fran & Flora’s collaborations together and separately includes performing with the likes of Tom Skinner, Portico Quartet, Imogen Heap, Riz Ahmed, Sam Lee, Talvin Singh, Jocelyn Pook, Hannah Peel and The Vernon Spring. Within the global Klezmer community they have worked with Zoe Aqua, London Klezmer Quartet, Sashe Lurje, Craig Judelman, Merlin & Polina Shepherd and Frank London, and have taught at Klezmer music camps including at Klezfest London, contributing to ongoing research and revival work.

Following their critically acclaimed 2019 debut album Unfurl, Hidden Notes Records are happy to announce the release of the multi-award-nominated experimental/contemporary folk string duo Fran & Flora’s sophomore full-length album, Precious Collection. Released on Friday 12th April 2024, this album, produced by the duo themselves, explodes in myriad directions expressing the richness of the long-standing collaboration between Francesca Ter-Berg (cello/vocals/electronics) and Flora Curzon (violin/vocals/electronics). With Klezmer and Yiddish song as the predominant inspiration for the record, Precious Collection defies convention, featuring self-penned tunes and unique arrangements pushing their ground-breaking project beyond their virtuosic string playing. Drummers Ursula Russell (Snapped Ankles, Alabaster DePlume) and Simon Roth (Chris Potter, Alice Zawadzki, Adrian Dunbar) feature on the record on full kit and Ukrainian Poik (marching drum) respectively, and Francesca and Flora experiment with bowed cymbals, extended piano techniques, and samples of found sounds.The album was recorded in three different locations - Total Refreshment Centre (London), Big Jelly Studios (Ramsgate) and Great North Sound Society (Maine, USA). The music of Fran & Flora sits in two camps, both steeped in tradition, with material drawn directly from archival recordings, recovered manuscripts and years of study with traditional music masters, whilst simultaneously garnering a contemporary and avant-garde aesthetic, speaking to the more classical and experimental listener. Fran & Flora inject their source material with drones, loops, free improvisation and electronics to create a ‘border-defying’ (Mojo) sound. Their influences range across a wide spectrum of artists and composers from Silver Mt.Zion to Rhiannon Giddens, Lankum, Brìghde Chaimbeul, Colin Stetson, Adrienne Lenker, Shabaka Hutchings and Mica Levi. As string players Fran & Flora’s collaborations together and separately includes performing with the likes of Tom Skinner, Portico Quartet, Imogen Heap, Riz Ahmed, Sam Lee, Talvin Singh, Jocelyn Pook, Hannah Peel and The Vernon Spring. Within the global Klezmer community they have worked with Zoe Aqua, London Klezmer Quartet, Sashe Lurje, Craig Judelman, Merlin & Polina Shepherd and Frank London, and have taught at Klezmer music camps including at Klezfest London, contributing to ongoing research and revival work.

Bad Bad Hats traffic in playful concepts and warm scenes of youth, celebrated for crispy, lived-in melodies, big choruses that stick for days, and an easy musicianship that carries across their eclectic, wide-ranging releases. The new album – filled with their trademark freewheeling songs, pristine tones and several unexpectedly funky turns – suggests a band still having deep fun creating and playing, inviting listeners new and old to live life to their heartfelt tunes.

"The most underrated songwriter of our times" - Los Angeles Review of Books. The 4th Margot LP, long out of print, gets its first deluxe reissue, complete with a second LP of acoustic demos from the period.

Produced by El Michels Affair & Tommy Brenneck (Charles Bradley, Menahan Street Band). Taken from forthcoming debut album due out in Summer 2024. Thee Heart Tones treat us to another must have 7" while the finishing touches are being put on their debut album. A bunch of talented kids from Hawthorne, California that came right out of high school and wound up in the studio with two legendary producers (El Michels Affair & Tommy Brenneck) cutting their first album in 5 days. Here on this 45 are two more of songs drenched in the magic that was captured. Side A "No Longer Mine" is gritty and driving mid tempo banger that lead singer Jazmine Alvarado's honeyed voice smooths out. A declaration of young love gone wrong, Jazmine states the facts and lays down the law like a boss with a chorus that will live in your head rent free. Side B "Cry My Tears Away" is a heavy duty B Side Ballad that can hold court with the best of them. This is sure to find a place in the hearts of all the slowie enthusiasts and soundtrack many a slow dance, joy ride, and late night.

In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerising album "Silenced". Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science.

Defying industry norms, The Black Dog embodies a Do-It-Yourself (DIY) ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry.

The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's 4-track EP "Bite Thee Back". However, this EP was only a prototype for the revitalised collective, eventually leading to the composition of Silenced, which followed soon after.

This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike.

a A1 The Black Dog Trojan Horus Part 1 (Album Mix / Remastered) 00:05:42
b A2 The Black Dog Trojan Horus Part 2 (Album Mix / Remastered) 00:02:29














q D2 The Black Dog 4 3s 555 Part 1 (Album Mix / Remastered) 00:02:57
[r] D3 The Black Dog 4 3s 555 [Part 2] (Album Mix / Remastered) 00:08:16

[a] A1 Trojan Horus [Part 1] (Album Mix / Remastered) 00:05:42
[b] A2 Trojan Horus [Part 2] (Album Mix / Remastered) 00:02:29














[q] D2 4 3s 555 [Part 1] (Album Mix / Remastered) 00:02:57
[Part 2] (Album Mix / Remastered) 00:08:16

[a] A1 Trojan Horus [Part 1] (Album Mix / Remastered) 00:05:42
[b] A2 Trojan Horus [Part 2] (Album Mix / Remastered) 00:02:29














[q] D2 4 3s 555 [Part 1] (Album Mix / Remastered) 00:02:57
[Part 2] (Album Mix / Remastered) 00:08:16

The ashtrays in the music cellar are getting cold. Nobody coughs, that Beer tastes stale, and the disco ball spins in slow motion the sequins are missing. Only a small illuminated sign shines on the counter. Tonight: LO FAT ORCHESTRA – New Wave HIT-MACHINE from Schaffhausen, Switzerland. The band – three men with a sense of well-being Melodies – sets off on a ghost ride. “I’m not your dancer,” sings Chrisi Schmid, the singer behind it powerful synthesizer that writes the lyrics without them to write down. "I'm not your fucker." I'm not your puppet, you clown. This is the essence of the new Lo-Fat album “LFO_09”, which contains eight songs. That the name of the album just as well could come from a UFO is consistent. You don't have to Wanting to fit in or be cool for the sake of being cool. If in doubt, for the doubt. “I was afraid to talk to you,” sings Chrisi in the song “Sound,” and his Synth hops a wild dance. “I was afraid I wouldn’t like you. And I didn’t want to be like you.” The band still doesn't need a guitar. The bass works for two (the new bassist is Dominic Rubli). Drummer Daniel Zimmermann switches seemingly effortlessly between high-speed, Ballade scene and assembly line. “Love is for free,” sings Chrisi in the wonderful ballad “Good Times”. “This place is killing me.”

012’s upcoming Various Artists "Lunae" is an enchanting ode to the depths of dub and deep techno. This imminent work sees a collaboration of talented producers: Danieli, Vera Logdanidi, Blazej Malinowski, and label head, Claudio PRC. Each artist brings their unique signature, unveiling an extraordinary and genre-defining musical experience. Dub techno vibrations intertwine with ambient layers and hypnotic rhythms, carrying the listener to a dimension where time seems suspended and emotions flow freely. “Lunae” it's a total immersion into an enveloping and adventurous atmosphere, embracing the depth of the human soul while merging with the immensity of sonic space.

Jamwax presents the resurrection of a hard-hitting space synth masterpiece that's set to ignite your senses and shake the very foundations of sound systems worldwide. 'In Ting Sound' is a sonic juggernaut, a hard-as-nails sound bwoy killer that refuses to be confined to the constraints of time. With its pulsating beats and infectious rhythms, this track commands attention from the moment the first note hits. But it's the heavy drums that truly set it apart, pounding with relentless force and driving the groove forward with unstoppable momentum.

Get ready to embark on a sonic journey like no other as this reissue comes with three exclusive unreleased tracks :
'Mandela': Feel the pulse of liberation with this uptempo digital killer, featuring Winston's impassioned plea to "Free Nelson Mandela...he never done no wrong, he is just a conscious man..."
Let the rhythm of justice resonate as you groove to this powerful anthem of freedom. 'Life All Over': Flip over to the B-side for a digital roots tune that- hits hard with its strong bassline and conscious lyrics. "Life AllOver" dives deep into the essence of existence, delivering a message of hope and resilience that reverberates with every beat. 'Finnegan' aka 'Life All Over Dubwise': Prepare to enter the realm of dub mastery. The second part of "Life All Over" takes you on a journey through the echoes of space and time, where the music transcends boundaries and the spirit of dub reigns supreme.

About Winston Fergus : Winston Fergus, a stalwart of the UK reggae scene whose career spans over four decades. Winston kickstarted his journey in 1976 as the vibrant lead singer of The Equators, renowned for their iconic track 'Father Oh Father' released under Joe Sinclair's esteemed Klik label. Not only did The Equators make waves in their own right, but they also provided the musical backdrop for rising star Pablo Gad, solidifying Winston's reputation as a mentor in the industry.

In 1977, Winston ventured into solo territory with the soulful release 'Give Me Love' on Jah Jah Bus, marking the beginning of a prolific solo career. Lightning Records recognized his talent and signed him, resulting in the release of 'African Woman'. Throughout the '80s, Winston remained a prominent figure, collaborating with luminaries like Clement Bushay, Clive Stanhope, and John Dread, producing hits such as 'Jezebel Woman', 'Keep On Dancing', and 'Hope For The World'.

In the late 80's, Winston's entrepreneurial spirit led him to establish his own imprint, Fergie Music label, marking a new chapter in his illustrious career.

Emotional Rescue dives back into one of its specialties, the formative years of Post Punk and Dub influenced music, presenting the, to date, unheralded Skinbat Scramble. The rarity of the unknown, the discovery of rich, lost music, it is a delight to release a compilation of the band's previously unreleased recordings. A snapshot of time, a journey that covers several decades of friendship but is concentrated here on the fertile 80's scene.

Forged around the friendship of Mark Eason and Fergus Crockford, but with ever changing line-ups, flowing in and out during misspent youths, self-taught playing, falling in and out of bands, travelling that well-worn journey from Home Counties boredom to the excitement of a rough edged London, taking in as music as possible, from Motown on to the The Velvet Underground, The Rolling Stones, Bowie, Pink Floyd, Gong and Fripp & Eno, before Dr Feelgood, Eddie & The Hotrods and a dose of John Peel led to discovering Dub and Punk and witnessing that short-lived burst of creativity at the Roxy Club, Marquee or Vortex and exploring back to early Rock'n'Roll, Rockabilly and old Surf'n'Soul, alongside the likes of Wire and Suicide.

As the Post-Punk sounds mixed simultaneously with Two-Tone, local Art College gave way to university and the early struggles of finding a way in the late 70s / early 80s of Thatcher's Britain. Music was central, Skinbat Scramble finally appearing, morphing from numerous teen bands, early studio excursions of tape loops and effects leading to the first recording sessions in 1981.

The slower tempos, introspection, open structures, and shimmering experimentation of Post Punk were pivotal. John Foxx's early Ultravox, Siouxsies' "Lord's Prayer" period and The Electric Chairs seminal "So Many Ways", influenced to a freer future. PIL, ACR, Section 25 and Pink Military let imaginations briefly roam.

'Far out and weird', those first recordings made at Leeds Uni's Fine Arts Dept utilized Revoxes, Tandberg, MiniMoog and even a borrowed drummer. This was followed up with completed sessions at Elephant Studios in London, forming the basis of this compilation.

The tight scattergun rhythms on opener Submit, in both Vocal and short Dub mix, bely an unreleased band. Taught and crisp, it's like a song you've heard propelling open-minded, leftfield dancefloors for years.

The writing, musicianship and studio mastery displayed on North By Northwest and Skiddadle should not be music unreleased for almost 40 years. In North Dub and closer, Pixie Boot Dub their understanding of the opportunities of dub Reggae are clearly apparent, ethereal music wormholes for late night smokers.

However, it is in Basement Voltaire that the band step out time. Recorded in 1986 this is a 9-minute proto-techno wonder that mixes all their psychedelic meets punk youth in a crescendo of crashing claps and rolling toms that is of a time and so far ahead of its time.

And that was that, after 6 gigs, including a couple at the infamous St Martins, to an audience total you can fit on one hand, the band's first incantation closed and the master tapes were stored for several decades, waiting for "The Psychedelic Pirates" to finally surface.

Just when you thought you had Kasper Bjørke figured out he comes back with another great musical surprise. His new album Puzzles, which will be released April 5th on hfn music, follows two recent collaborative EPs on Live at Robert Johnson and Mule Musiq as well as his second Kasper Bjørke Quartet neoclassical/ambient album Mother on Kompakt.
Puzzles is Kasper’s love letter to the sound of early 2000s New York - merged with his Scandinavian sense of producing songs that goes beyond conventional club music; combining disco tinged instrumentations mixed with elements of 80s funk, jazz and contemporary pop songwriting, creating something familiar yet, something very fresh and innovative at the same time.
The album includes collaborations with a wide range of musicians and vocalists. From California based indie-disco troubadour Woolfy (DFA, Rong, Permanent Vacation etc.) to the Icelandic dream-folk trio Systur aka Sísý Ey (who also featured on Kasper’s 2014 single Apart, where the Michael Mayer remix became a timeless club anthem), as well as other longtime collaborators and artist friends: Toby Ernest, Jacob Bellens, WhoMadeWho’s Tomas Høffding on bass, Posh Isolation affiliate Frederik Valentin on guitar and the young, rising jazz star Oilly Wallace on saxophone and flute. Essentially, the majority of Puzzles is played and recorded live, including the drums by Rasmus Littauer (School of X, MØ). Many of the songs emerged from chord progressions written during studio sessions between Kasper and Toby - which Kasper then produced into a colourful and effective album, rooted in an expressive live feeling far from programmed patterns.
Puzzles is a new step for Kasper as a producer and artist, showcasing his ability to move and flow freely between genres and expressions, however still deeply rooted in his love and affection for the classic disco groove - which is only natural after more than two decades as an active DJ.
Another piece has been added to the musical puzzle of Kasper Bjørke

The space between every love is filled with vigilance in preparation for future threat. This threat is not so much pain as failure and, above all, fatigue. Even the beginnings, when love seems at its most accessible, are disturbing. In spite of this we advance into the turmoil because we are inebriated with love.

Dominik Suchy's third album admits all this as a quality of love. Disembodied and denied to be gloom or bliss, love is revealed to be a raw process at full length. This makes for emotionally hypercharged music that is more inevitable than tense. The record unfolds, for all its ruptures and weight, as familiar. It is a music of pathos, because it benefits from the emotional knowledge that already resides in you.

The universality of this angle allows for compositions that are less than opulent. A focus on the mass of sound // verticality leads to a bareness that sets "Every Love..." apart from Suchy's previous works. At times sonically overwhelming and rhythmically ambiguous, it should be approached as free jazz rather than post-club.

Every Love Is an Exercise in Depersonalisation on a Body Without Organs Yet to Be Formed does not submit to the weariness of love // Weltschmerzen does not submit to the weariness of the world.

“In places harrowing and emotionally charged, in other places quite inconspicuous, you feel that you are standing in front of something big, transcending everything, which you observe with sacred reverence. Maybe it's the eye of the storm or that love which is the origin of everything.”
Peter Dolnik, 34.sk —

“One of the most distinct electronic artists in our geographical area.'”
Roberta Tothova, Pravda.sk —

“Everything happens with deep apprehension, the atmosphere and its variations are executed on a masterly level””
Richard Kutej, Fullmoon Zine —

“An album full of incessant soundscapes, undulations and sound-design based portrayals of magnificence.”
Mikulas Hamerla, Alterecho.cz —

Ondrej Zajac doesn't practice. Neither does he play his guitar with as little as a hint of striking technical prowess. Despite this, he makes music with the confidence of a master instrumentalist who doesn't let their chops get in the way. This is because Ondrej Zajac understands that the point of playing an instrument is to transcend it.

Such principles have been the source of pride for the idioms of experimental and free music, but these suffer from the chronic peddling of artistic narcissism. Ondrej Zajac works in the confines of these genres, but impressively avoids all their pitfalls. His music is almost pure content, as straight as a line, and so immediate and so fucking honest it leaves you wondering.

I Will Be Forgotten offers plenty of opportunities for such wondering, regardless of whether the composition is sixteen minutes or sixty seconds long. The structure of the whole thing, the appreciation of all properties of sound without indulgence in any of them, the playfulness and composure beyond it all, not even the beautiful sonic grain of the guitar itself, none of this does dwarf the most remarkable accomplishment of this record // its utter artistic integrity.

Recorded live at Divadlo 29 in Pardubice and co-produced and mixed by Václav Šafka, I Will Be Forgotten is the second solo release by Ondrej Zajac (Banausoi, Data Koroptev) and the 19th release by the sincere label Weltschmerzen.

Having built a loyal local Antwerp following off of the success of their 2019 debut self released album, ‘Forgotten Kingdom’, and growing reputation for electrifying stage performances, Kolonel Djafaar achieved worldwide recognition in 2021 for the ‘Cold Heat’ EP on Batov Records, attracting praise from Music Is My Sanctuary (“triumphant), and support from Gideon Coe on BBC 6 Radio Music, and DJs across Worldwide FM, Soho Radio, Le Mellotron, and KEXP.

The group overcame busy schedules and frequent quarantine periods to hit the studio in February 2022 to lay down four tracks. However, the creative itch persisted, leading to an intense writing session in August, deep in the heart of a tranquil forest. From noon until midnight, the band immersed themselves in the creative process, embracing the freedom to make noise without restraint.

Fueled by hearty breakfasts, unwavering focus, and the ambient clucking of chickens roaming the studio, Kolonel Djafaar crafted the majority of ‘Getaway’. This period marked a pivotal shift as a number of new band members joined just in time for the August sessions.

Membership changes, including Emiel Lauryssen joining on trumpet, alongside guitarist Philip Matthhijnssens, the band's palette has broadened and new sounds are able to break through. From psychedelic rock and soul influence of the Daptone Records’ affiliated Budos Band, surf rock (“Urban Dweller”), Morricone Spaghetti Western guitar, and Afro Cuban (“Kelmendi”), alongside the brassy Afrobeat and Ethio jazz vibes the group have been known for.

The broader dynamics of ‘Getaway’, and the band’s more cinematic and experimental approach, is particularly apparent on "Siren’s Glitch" and "Phil’s First Tear". The latter, first conceived by drummer Anton Van Hove, features the lead guitar doubling up with the bass guitar for added impact. Whilst the origins of "Convoi Exceptionnel", a brass & synths stomper of a march, trace back to a jam session during the band's Hungarian tour, another vital period of prolonged time together, capturing the organic essence of their experiences on the road.

Each track on ‘Getaway’ holds a unique connection to at least one band member, and all benefit from a collaborative approach to songwriting. "Sparking Clover'', an Ethio-inspired psych & soul groover penned by tenor saxophonist Doyin Smith, carries a poignant undertone inspired by personal loss, while psych rock leaning tracks like "Apologies in Advance" showcase the band's evolution and increasing professionalism in crafting a distinct sonic experience.

The curious cover art depicts a lone individual heading down an empty city street towards a large mysterious glowing object, evoking the common emptiness and struggle of urban life, and the search for meaning or just something better. The band envision the object to represent this album, offering a beacon to like-minded listeners. Kolonel Djafaar invite music enthusiasts on an immersive journey, to ‘Getaway’ from the daily grind of life, on an album reflecting diverse influences and marking a new chapter in their musical exploration.

Smudge All Stars is Richie Stevens' audio intelligence collective. Richie is the son of the late John Stevens, a pioneer of British free jazz, and a gifted drummer, percussionist and producer in his own right. His talents have found him in constant demand, working with everyone from Horace Andy and Joss Stone to Boy George and Damon Albarn. Now, with Smudge All Stars, Richie leads a funk/soul ensemble that draws on his friendships with many leading black British, Jamaican and US musicians.

Smudge All Stars is Richie’s musical vision writ large. This is a party album in the old school P-funk tradition, all instrumentation is recorded live with Stevens calling on the original Horny Horns Fred Wesley and Peewee Ellis to help build a fat brass groove for the authentic P-Funk vibe and George Clinton vocals for the ultimate seal of funk approval.

The 8-track musical extravaganza commences with ‘Brutal Funk’; a rousing psychedelic funk workout that encompasses a delicious groove cooked up by the famed Jamiroquai member DJ D-Zire and the powerful vocals of British soul singer Mary Pearce. ‘Up is Just a Place Feat. George Clinton’ continues the party vibes by bringing none other than the P-Funk master himself together with Mary Pearce, MWS, Derek 'Dr Mouthquake' Green and the decorated British soul singer-songwriter Omar for a full flavoured aural delight. Cue tight rapping, funky beats and scratching alongside slap bass and a slice of synth for good measure.

Other highlights include, ‘Freaky Toe’ which opts for a smoother groove than its predecessors with seductive vocals courtesy of Soul II Soul’s Charlotte Kelly. ‘B Side’ sees Mary Pearce join Derek 'Dr Mouthquake' Green for another upbeat affair, accompanied by the legendary American trombonist Fred Wesley (James Brown, Parliament-Funkadelic) who adds a distinctive touch to the track.

Akua Naru's latest feat is an album entitled, "all about love: new visions", inspired by and an ode to Black feminist icon bell hooks and her titanic classic text of the same name, in which hooks examines society and its ideals of love. To honor and take up hooks' understanding of "love as a practice of freedom", especially in these times, naru's forthcoming offering is a new vision for her love songs: recorded live by a large band ensemble supported by the highly decorated classical orchestra, Ensemble Resonanz. Naru has worked with Tony Allen, Eric Benét, Angelique Kidjo, Questlove, and more.

New Juice WRLD album Fighting Demons cover and tracklist has been revealed. The album, features collaborations with Justin Bieber, Trippie Redd, SUGA of BTS, and Polo G.
“There was nothing Jarad “Juice WRLD” Higgins enjoyed more than delivering new music to his millions of fans around the world. He left behind an astonishingly deep catalog of music that will ensure his fans will have new songs to listen to for years to come. Jarad was always searingly honest about his struggles and through his musical genius he articulated what was on his heart and mind vividly through his art. He never gave up and his friends and family never gave up on offering their support to him. Today we announce a new album “Fighting Demons” out Dec 10th. We encourage all of you who struggle with addiction and mental health to never give up the fight. We continue to extend free support to you via LiveFree999.org created in his honor.”
- Ms. Carmela Wallace and Grade A

Released on July 10th, 2020, Legends Never Die had a record-shattering debut at No. 1 on the Billboard 200 and spent two weeks at the top spot and has since landed five singles in the top ten on the Billboard Hot 100.

In April of 2020, Juice’s mother Carmela Wallace announced the establishment of the Live Free 999 Fund, which receives additional support via Grade A and Interscope Records in addition to individual donations. The Live Free 999 Fund honors the legacy of her son by supporting young people in their battles and to do so with love, joy, and emotional honesty.

This is the assumption; what are the facts?

In an exhilarating convergence of sonic exploration, experimental noise guitarist Nina Garcia and danish trombone virtuoso Maria Bertel have teamed up to create a heavy-hitting, collaborative record that pushes the boundaries between extreme improvisation and harsh noise. Both renowned in their respective fields, Garcia and Bertel bring their unique styles and influences to create a masterpiece of collaborative improvisation.

Known for her fearless approach to the guitar and her ability to conjure otherworldly sounds, Nina Garcia has carved a niche for herself in the experimental music scene. With a minimal setup consisting of only guitar, pedal & amp; constantly touring, collaborating and evolving, Garcia has established herself as a trailblazer, challenging conventional norms and redefining the possibilities of the guitar beyond tonality. There‘s as much free improvisation in her playing as it is informed by no wave and the energy of free jazz, but most of all, this is kinetic music.

And this might be the intersection where Garcia and Maria Bertel meet.

Bertel, an accomplished trombonist active in the free noise rock monolith Selvhenter and in the duo Gud Er Kvinde (God Is A Woman), is no stranger to pushing the limits of her instrument. Known for her dynamic performances and innovative approach, Bertel has earned international acclaim for her ability to seamlessly blend genres and traverse musical landscapes - from delivering the low end in Selvhenter to the drone explorations of G.E.K., together with Nina, she focuses on rhythmic possibilities of her instrument. The distorted, feedbacking trombone is as controlled and precise as it is sonically explorative.

KNÆKKET SMIL (meaning „broken smile“) is a living, breathing, moving entity. It‘s a testament to the raw and emotive power of these two players. Bertel and Garcia‘s practice of mutual listening, reacting and merging is as radically tender as lovers exploring each other‘s scars.

This approach to collaboration is also reflected in every other part of that record. It‘s a joint effort of three labels, french label No Lagos, which is a home to many of Garcia‘s ventures (and the graphic work of Helene Marian), germany‘s Otomatik Muziek, where Maria previously released with G.E.K., and belgian experimental stalwarts Kraak as focal point.

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.

Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

At just 21 years old Peter Frampton had already played with The Herd and co-formed and left Humble Pie. So he struck out on his own with the appropriately named, “Wind of Change.” Freed from Humble Pie’s narrower focus on hard-rock boogie, Frampton’s debut solo album reveals an artist exploring more dimensional, delicate and nuanced songwriting and guitar playing … Frampton showed his own brand of rocking hard with tunes like “It’s a Plain Shame,” “All I Wanna Be (is by your side)” and even made a Stones song his own with “Jumping Jack Flash,” which became a staple of Frampton’s live shows. But these tunes and even the hook-laden “The Lodger” are balanced with intricate, beautiful tunes like the elegiac “Fig Tree Bay” and the title track “Wind of Change.”