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The essential series from the ’80s has been rebuilt, remastered, and carefully portioned onto a five disc set of 7-inch singles, including all the classic vocal bits that became iconic samples, and more than a few new additions to bring things up to date.

Where would dance music be without Acapellas Anonymous? Although many records claim to have changed the game, the arrival of the Acapellas Anonymous series in the mid/late ’80s actually did just that. A hugely popular, multi-volume set of vocal tracks sourced from a wide variety of dance classics, AA was used extensively at the dawn of sampled music to provide hooks for numerous hits. “I’ve Got the Power,” “Ride On Time,” multiple Clivillés and Cole tracks, Pal Joey’s “Party Time,” ’90s Italo house and rave cuts, and untold others all found their choruses among the many acapellas collected on the series. As Ultimate Breaks & Beats was for funk and hip-hop sampling, so was AA for dance music, both for producers and as a must-have for the creative DJ. Sure, before these records came along, DJs had their own choice vocal bits that they used in sets or layered into edits. But suddenly, much like Ultimate Breaks, these carefully guarded secret sources were available easily, and in convenient form, for the first time. And the response, from DJs and a new generation of producers, was immediate.

That part of the story is widely known, and indeed, was widely experienced by anyone paying attention to music of the time. But the questions linger: who was it that found these acapellas, many of them only existing on promo singles, or as tiny fragments buried on obscure B-sides? Who edited and put them together? By now, you may have guessed that once again we owe an enormous debt to the maestro of edits and our hometown hero, Danny Krivit. And it’s to him we must tip our collective caps for this latest release, a carefully revised, fully remastered, and immaculately executed update to the series — this time on 7-inch.

All of the classics are here, rinsed but still powerful: “Let No Man Put Asunder,” “Weekend,” “Don’t Make Me Wait,” “You Don’t Know,” and dozens more. New additions make a few clever appearances as well, with Roland Clark’s “I Get Deep” (used for Fatboy Slim’s “Star 69”), and Rickie Lee Jones’s stoned rambling known as “Little Fluffy Clouds” showing up for the first time. This is no nostalgia trip — Acapellas Anonymous was recently tapped for a Cardi B megahit, and naturally you’ll find that source, Frank-Ski’s “Whores In This House,” included. All in all, an astounding 80 high-quality acapellas and vocal hooks are spread across the five 7-inch, 33RPM singles, which have each been sequenced thematically with attention paid to timings and tempos to provide maximum utility for the working DJ. And if the past is any indicator, we will likely see a new crop of tracks spring up as these find their way into the production toolkits of the world’s track-makers.

Essentia is not only the latin word for – you guessed that right – essential, but also the name of Krystal Klear’s return to Running Back. While trance might be a state of mind (according to DJ Dag), it’s also a tone theory with a very specific tool kit. Here you get the version that makes sense in the aural universe of a producer that got raised on a diet of hip hop, boogie and the foundation tunes in house music. Moderate in tempo, the result is still euphoric to say the least: melted brains, stimulated spinal cords and rave rampage included. Essentia balances the euphoric rush of its topical genre perfectly with the happy-sad moments after the rave. If that is not musical or emotional enough for your taste, you will find content in the Sunrise version. Excessive use of the well-beloved choir, breakbeats and - downs make it equally irresistible for sun-ups and love-ups.

Flip the coin for Winnies Karaoke. Stemming from the same source and session as Essentia. Named after the interactive entertainment bar in Chinatown NYC and made sometime in the early morning hours, its the quintessential Krystal Klear. Sawtooth boogie, if you will. It’s counterpoint is the Sundown mix. Techno prog for the tilted generation.
Sometimes, in the permanent search of happiness, the world of tomorrow needs the sound of yesterday made with the means and minds of today. Essential bliss.

Dickie Landry & Lawrence Weiner's Having Been Built on Sand was conceived as a vinyl edition and released by the Rüdiger Schöttle gallery in Munich with sleeve design by Weiner. The piece consists of eight untitled tracks. Lawrence Weiner, Tina Girouard, and Britta Le Va recite text with Dickie Landry’s woodwinds, all recorded in the natural reverb of Robert Rauschenberg’s studio, a former mission and chapel in Lower Manhattan. Layering Girouard in English, Le Va in German, and Weiner in English and German blocks of related or physically proximal texts repeat, invert, and intersect with Landry’s music as a constant. The layers of text and sound have meanings that fluctuate in complexity and scope, and like much of Weiner’s work, beyond mere facts.

The first piece is a trio for Landry’s keening tenor, repeating winnowed but breathy lines that contrast with and buoy Le Va’s clear, husky phrases, building in intensity as Weiner, in English, offers statements that are caught just off mic. The third cut adds Girouard, and one can hear woven parallels in the two women’s voices, cadences, and pitches, with Weiner’s cutting inflection dancing amid them. Landry’s bass clarinet is rich in its warble, full and gentle with woody footfalls that demarcate shapes through the chorus. Vocal rhythmic cycles, wordless in nature, are the energy that courses through the fourth song, urgent and sweaty as Weiner recites statements of political position in the Middle Ages, Le Va declaiming alongside in German. On soprano saxophone for the fifth tune, Landry pierces and darts in a bright manner in a private dialogue with himself, echoing Steve Lacy as female voices nearly bury one

"Viktor Marek is at home everywhere, even at home," DJ Booty Carrell recently remarked on his old companion. Marek is the outernational musician par excellence. When he's not working as general manager of the legendary Golden Pudel Club in Hamburg, he travels the world, meets people and records music with them. With his inimitable productions between HipHop, Acid and Dub, he has long been known as the "Madlib from the Waterkant" far beyond the borders of Hamburg! As a beatmaker and producer for artists such as Jacques Palminger and the Sufi Dub Brothers (Marek together with Ashraf Sharif Khan) and a lot more, he has already released countless great tracks and albums. Finally, he is going to release his first solo album for which he has invented the character Mr.Subtitle. A translator of cultures. An overcomer of distances. A humanistic spirit of research and comic hero who encounters many artists and cultures on the album "The lucky bag of Viktor Marek". Some of them are probably not even native to this planet. On the first hit single for instance, "Mr.Subtitle Theme", we hear Kurdish vocals by Hêja Netirk and Sicilian Rap by Don Colfit. Is it a piece about Palermo? Istanbul? Los Angeles? We don't know. But that's exactly the point! Mr.Subtitle overcomes national and genre boundaries in the blink of an eye and has created a kind of mission statement for the Fun in the church label with this work! Outernational music for interplanetary people. Truly.

Angis Music invites you to listen to "Selva" the second release from the Padova duo composed of Stefano Cosi and Alberto Lincetto. The three songs featured represent the deep desire to communicate an evolution of sound and to tell a story that goes beyond traditional paradigms and genre labels. The “chiaroscuro”, lights and shadows, that characterize HUMA's music are once again the result of compositional and sound explorations that travel from jazz to 70’s funk, from deep house to electronic, with echoes of Brazil and film soundtracks. Side A opens with the misty and romantic landscape of "Free and Lost”, in which acoustic, electronic and deep bass sounds blend in a dark and spiritual atmosphere. The journey develops further into "An Ordinary Life” which sees the participation of Yeofi Andoh, aka A Race Of Angels, Los Angeles-based vocalist and co-author of the track, and of Amilcar Soto Rodriguez on classical guitar. It slowly emerges from the initial psychedelic sphere, landing on luminous harmonies and funk rhythms to reiterate a contrast that speaks of life cycles and the relationship between man and nature. This path ends with the title track "Selva" in which the synthetic percussive tangle keeps the listener in a meditative state of disorientation guided by the melodic lines of a dusty Fender Rhodes. It is the temporary epilogue of a story that has just begun..

Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with Planets by Masaru Imada Trio + 1. Originally released in 1977 as a private press album, Planets showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty-plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr. Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer. Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Sunsleeper was halfway through the touring cycle for their debut album when the pandemic halted live music. For the Salt Lake City indie rockers, that pause allowed them to reframe what their journey as musicians and people inspires them to create and say. After forming in 2016 and briskly realizing their Nathan Hussey-produced debut EP Stay the Same, the band entered the studio for their debut album, inking a deal with Rude Records. You Can Miss Something and Not Want it Back dropped in summer 2019, with the band celebrating with runs featuring their collaborators and friends in All Get Out, an Audiotree live session, and most recently, a run with TWIABP and Bent Knee in fall 2021.While the pandemic still rages on in uncertain terms, Sunsleeper found themselves more solidified than ever writing their sophomore LP, with their road-tested lineup collaborating cohesively and with united goals. While You Can was recorded and produced by Brett Romnes (Oso Oso, Hot Mulligan) and mastered by Will Putney (Counterparts, Knocked Loose). Enlisting heavyweight personnel across scenes and genres underlines what the band views as this album’s mission: to connect with and inspire as many listeners as possible while venturing into their most daring and expansive material to date.

Sunking is the experimental sights and sounds of Seattle natives Bobby Granfelt & Antoine Martel, an outlet for the duo whose music is "steeped in funk, fusion, and the dreamier end of the rock spectrum," said Seattle"s The Stranger. The Stranger also went on to say that "this city needs more groups like sunking, who flit among genres such as hip-hop, jazz, and shoegaze rock while messing with the DNAs of each style they address." Both Granfelt and Martel are also members of High Pulp, a jazz collective that draws influences from punk rock, shoegaze, hip-hop, and electronic music. Also signed to ANTI-, their album "Pursuit of Ends" came out in April of this year. "High Pulp blend old-school bebop with contemporary soul and electronica vibes, as though someone convinced the ghost of Duke Ellington to reinterpret a Chemical Brothers album," said the A.V. Club.

Minas-cover Minas is a world music duet comprised of Orlando Haddad and Patricia King. Minas reflects a perfect musical marriage with a stage presence and chemistry that only a lifetime can produce. Drawing on the passionate styles of Brazilian and American roots music, the two create a fresh and innovative sound. With a catalog of 8 recordings released on their label Bluezul and a collection of over 100 songs, they have been building their reputation. Multi-talented as composers, vocalists, and instrumentalists, and equally comfortable in Brazilian jazz, folk, and classical genres, Minas is now bringing their world music approach to the Beatles with their latest album titled Beatles in Bossa. This re-imagination of fourteen Beatles' songs is infused with American Jazz and Brazilian styles of Bossa Nova, Samba, Choro, Partido Alto, Afoxé, Marcha Rancho, and Frevo. "Blackbird" has a nylon-strung guitar and vocal intro that sets the tone for this Brazilian-themed arrangement. Minasminas-1 transforms the melody to something new while still keeping the theme recognizable. The male and female vocals of Haddad and King blend beautifully as the band builds a relaxed Brazilian feel. John Swana plays an expressive Evi solo, adding a modern color while still being vivid. Haddad wrote this creative arrangement with a fresh approach to this classic Beatles melody. "With A Little Help From My Friends" is another Brazilian arrangement that is all Minas. The concept came from Haddad and King with the horn arrangement provided by Andrew Neu. Haddad's nylon-strung guitar keeps a Latin pattern as the horns accent the two vocalists trading phrases of the melody. Neu plays an exciting solo. The arrangement is rewarding, enabling us to hear the melodic lines, harmony, and orchestration from a different perspective.minas-2Minas' Beatles in Bossa impresses with its natural, vibrant, and heartfelt presence, allowing us to hear and appreciate the colors and textures of the exceptional music of the Beatles through a Brazilian perspective and thoughtful performances.

TELE MUSIC is a label of Éditions Musicales Sforzando now owned by BMG Production Music. It is entirely devoted to the music library, that is to say, music for sound illustration used in audiovisual productions. Created in 1966 by Roger Tokarz,
just before advertising was allowed on French television, Editions Sforzando specialized from the outset in sound illustration for radio and television.
This collection, soberly entitled “Volume 2”, is the sequel to “Volume 1”, produced with equal care, passion and fervour by Lord Funk & DJ L.C. In the mid-90s, Tele Music vinyl was sold at ridiculously low prices. Often disparaged by collectors and record shops, considered by some as lift music or vulgarly called “music by the meter”, the music store was only of interest to fans of instrumental music! But in the 2000's, it had a second life and saw its prices soar on Discogs, thanks to sampling and digging in Hip-Hop mainly. This advent of the library is an era that Lord Funk, curator of this compilation, experienced when he brought several music library collections to New York City (NYC) to his A1 Records stronghold in 1997.
In this 2nd volume, Lord Funk & DJ L.C. have chosen a range of music from 1969 to 1983, from psychedelic jazz to electro funk via rnb, soul and jazz-funk. Most of the titles in this collection were recorded in the magic place that was the famous CBE recording studio set up by Georges Chatelain, Janine Bisson and Bernard Estardy. Bernard, nicknamed the giant, was a sound genius and a mixing perfectionist. Georges Chatelain was an electronic engineer. Together, they brought a sound,
a colour, a trademark. Bernard Estardy was also considered as one of the greatest French sound engineers and an energetic organist for Nino Ferrer or Nancy Holloway. We warmly thank Julie Estardy for her total and unreserved involvement in these reissue and compilation projects.
The combination of all these prodigies has given TELE MUSIC a phenomenal and unique sound colour in the service of a sound repertoire that is now part of the French heritage.

During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.

Recorded at Galeria Zé dos Bois, Lisbon, 12-05-2016, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno

Alex Zhang Hungtai - Percussion ; Saxophone
Pedro Alves Sousa - Percussion ; Saxophone ; electronics
David Maranha - Percussion ; organ
Gabriel Ferrandini - Percussion
Júlia Reis - Percussion


[a] a1 | RAHU
[b] b1 | RAHU

During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.

Recorded at Galeria Zé dos Bois, Lisbon, 29-12-2017, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno

Alex Zhang Hungtai - Percussion ; Saxophone ; Drumpad
Pedro Alves Sousa - Percussion ; Saxophone ; Electronics ; Flute
David Maranha - Percussion ; Organ ; Flute
Gabriel Ferrandini - Percussion ; Electronics ; Flute


[a] a1 | KETU
[b] b1 | RAHU

Seabuckthorn is the alias used by Andy Cartwright for his solo works. Cartwright uses finger picking & bowing techniques combined with various open tunings to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk.

Having grown up in Oxfordshire, Cartwright studied sound engineering in Cornwall and then lived in the cities of London, Paris & Bristol working as a broadcast wireman. He now resides in the French Southern Alps making music.

Cartwright has been actively touring internationally for several years performing in festivals and events throughout Europe.

Various songs have been featured in documentaries, film and contemporary dance. His works has been released since 2009 on labels such as Dead Pilot Records, Bookmaker Records, Lost Tribe Sound, Eilean Rec., IIKKI and Fluid Audio. "Of No Such Place" is his 13th solo releases.

Here is the much anticipated volume 3 of the HOT SAUCE compilation LPs dedicated to the Trojan related UK labels between 1965 and 1975.

HOT SAUCE VOLUME 3 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits.

The record labels showcased on this third volume are Amalgamated, Duke, Gayfeet, Grape, Harry J, Rio, Randy’s, Treasure Isle, Upsetter and Trojan. The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.

These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting with the Rocksteady songs on the A side and the 70s songs on the B side.

HOT SAUCE is a musical journey across early Jamaican Reggae - highlighting its diverse musical genres and outstanding artists – as it was once published by the U.K. record labels during this golden decade…

Since the early 70s “Tighten Up” series, no compilations have really explored these labels in depth on vinyl.

Authentic original release track listing and artwork, issued for the first time on special transparent amber coloured vinyl.

There are only a few figures in music whose work influences and
shapes a genre as a whole. This is undoubtedly true of the Swede
Esbjörn Svensson. With his trio e.s.t., the pianist and composer
wowed audiences beyond age and genre affiliations. And his
influence on jazz as a whole reverberates to this day and already
within the second and third generation of musicians worldwide.
‘HOME.S.’ is Esbjörn Svensson’s only solo album and the sheer
existence of such a recording and its completely unexpected
discovery over a decade after its creation are nothing less than a
sensation: Since the early 1990s, Svensson focused almost his entire
creative energy and recording activities on his work with e.s.t.. Thus,
these new recordings are not only the first, but practically the only
ones that show Svensson in a setting other than that of the trio:
Intimate, concentrated and completely one with himself. The
recordings for ‘HOME.S.’ were made only a few weeks before
Esbjörn Svensson’s sudden death on June 14, 2008. Svensson
recorded the music in his Swedish home.
For almost ten years afterwards, the album rested untouched in his
wife Eva Svensson’s personal archive. Here, she tells the story
behind the discovery of the album and the music: “After Esbjörn’s
passing, I made sure all the contents of his computer were saved to
backup hard drives. And then I basically left them untouched for the
next ten years. At the point where I eventually felt ready to look into
the material, I soon realised that there was something I wanted to
look into.
“I took the hard drive and went to Gothenburg to meet with Åke
Linton, the sound engineer who had worked on all e.s.t. albums as
well as on their live shows. He was also the one who had helped me
to save the material from Esbjörn’s computer in the first place. So he
probably already knew that there was something hidden in there. But
nobody had listened to it.
“We went to his studio. And we pressed the start button. Then there
was a total silence and we couldn't speak for the entire time the music
was playing. After it finished, at first we were not able to say anything,
because we were both so touched and surprised that it was all there,
and that it was so beautiful. The tracks seemed to follow one another
like pearls on a string. After we just had sat there for a while we
agreed: This is really good. Musically, but also from a sound
perspective.”

Originally released in 1994 on Calypso Records / Irma Records in a triple vinyl promo white label version, Don Carlos's album Aqua is the
second album by the Varese-based DJ producer, already then known for his first two singles Alone and Mediterraneo, then both included in
his first album entitled Mediterraneo and released only in Compact Disc format in 1992 for the American market printed and distributed by
IRMA U.S.A., the American subsidiary of IRMA Records Italy.
The same fate will also have the Compact Disc format of the Aqua album, again printed only on the American market.
But the triple vinyl, printed in a limited edition of 500 copies in a white generic envelope, was never reissued and has become a rare record
over the years.
After almost thirty years, after countless requests for reissues, especially in the last few years in which the name and music of Don Carlos
has made a comeback, Irma Records has decided to reissue the vinyl in exactly the same original triple version.
DJ Don Carlos (born Carlo Troja) with his productions in the 90s has become one of the cult producers for DJs around the world.
His track Alone released in 1991 for Calypso was and still is one of the classics of House Music, played by all the major American and British
DJs.
At the time of its publication it was considered an underground song and therefore did not sell very much, but over the years its myth has grown
thanks to its subsequent productions as for example his second single, the EP entitled Mediterraneo, title which it will then inspired his first CD
album printed in the USA with the same title.
Several other singles followed, another album, always printed only in the USA, entitled Aqua, from which a triple promo vinyl was extracted which
today is one of the artist's most requested rarities.
In Italy his third album was released in 2002 entitled The Music In My Mind where Kim Mazelle, Michelle Weeks, Taka Boom and Kevin Bryant
were present as vocal guests. In 2009 a collection of the first two albums released in the USA titled Mediterraneo-Club Favourite Collection '90-
98 and in 2010 his fourth album entitled The Cool Deep which reproduced the sounds closest to his first productions.
Also active as a remixer for Italian and international labels, one of his most important works is the remix of Byron Stingily of the song You Make
Me Feel of which he made a worldwide hit. As a producer he also used other pseudonyms such as Montego Bay, Aquanuts, Sotterranea and
Love 2 Love Orchestra. He has played and plays in different countries such as London, New York, Miami and at various festivals, such as the
Robot and the Stickermule Festival in an evening with Apparat, Derrick May, DJ Koze, Lil 'Louis, Young Marco and Ellen Allien, LTJ Xperience

John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes can instantly flood his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kungfu fighters, or a mirror holding the gateway to hell.

The music on Lost Themes is there for Carpenter’s acolytes to visualize their own nightmares.

As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfield’s Tubular Bells and Goblin’s Suspiria.“They’re little moments of score from movies made in our imagina- tions,” Carpenter says. “Now I hope it inspires people to create films that could be scored with this music.”

Sacred Bones is now repressing this incredible debut by the one and only master of horror in a bunch of new colors in celebration of the label’s 15th year anniversary.

Vielen erscheint Istanbul als ein von Mythen und Traditionen umrankter Sehnsuchtsort, andere betrachten es als Symbol für wirtschaftlichen Fortschritt. Seit den Gezi Park-Protesten 2013 sieht Westeuropa in der pittoresken Metropole am Bosporus mehr als die Hagia Sofia und andere Kulturdenkmäler. Der Gitarrist Erkin Cavus verbrachte viele Jahre seines Lebens in der riesigen, hochverdichteten und oft hektischen Stadt. Hier hat er Karriere gemacht, an der Seite berühmter Künstler gespielt, ehe er vor rund vier Jahren nach Deutschland zog. Nun setzt Cavus, zusammen mit Reentko Dirks, dem historischen Istanbul ein klingendes Denkmal. Inspiriert von Bildern des berühmten Fotografen Ara Güler (1928-2018), der als einfühlsamer und detailverliebter Beobachter zum Chronisten des Lebens seiner Heimatstadt wurde. Seine Aufnahmen des mittlerweile verblassten, teils unwiederbringlich zerstörten Istanbul und der ehedem höchst unterschiedlichen Stadtteile hängen längst in Museen. Bei der Entwicklung des Repertoires für Istanbul 1900 hat sich das Duo bewusst Zeit genommen. Der stärkste kompositorische "Flow" entwickelte sich in den Wochen vor dem Studiotermin. Die individuelle Form der Stücke, die absichtsvoll konkrete Jazz- wie traditionellen Bezüge vermeidet, "hat sich ungeplant entwickelt", so Istanbul 1900 ist eine atmosphärische Hommage, die mitunter nachdenklich klingt, dann wieder zarte Leichtigkeit suggeriert. Angesichts des Themas Vergänglichkeit und des Umstands, dass Erkin Cavus seiner Heimatstadt nicht ganz freiwillig Adieu sagen musste, ist ein Hauch Melancholie sicher keine Überraschung. Gleichwohl vermeiden die beiden Musiker jedes dramatische Pathos. Ihre Töne zeichnen, ganz im Geist der Schwarzweißa-Fotos Ara Gülers, feine Schattierungen. Selbst wenn sie in "Moda" schwungvoll das Nachtleben der großstädtischen Bohème oder in "Pera" die Dynamik in Straßencafés und -kneipen nach Feierabend imaginieren. Insgesamt entwickelt Istanbul 1900 einen sehr eigenen, subtilen Zauber, den man so nur selten erlebt. Ganz wie die Stadt, die an der Schnittstelle von Orient und Okzident Welten verbindet.

Trumpeter Raynald Colom immediately captivates with the hauntingly beautiful dream-like opening notes of his live recording, A Million Dreams. Colom demands the listener"s attention throughout the cohesive eight-track outing, alongside pianist Tony Tixier, Joe Sanders on double bass and Francesco Ciniglio on drums. French- born and Barcelona-based, Colom is a seasoned musician inspired by many genres and artforms, but with firm roots in flamenco.

Cryk II is a collection of the 5 tracks that didn’t make it onto the Cyrk , the rationale being that they’re distinctively different from those on the parent LP. Cyrk II is gentler and dreamier, a pleasant blend that gives way to soothing harmonies with less of the eccentricities that Le Bon has become known for. Tracklist A1. What Is Worse A2. The Eiggy Sea A3. That Moon B1. Seaside, Low Tide B2. January

With Echo’s Reach Isla Craig presents a sophisticated set of compositions that perfectly wrap her Highland influenced melodies in an organic blanket of musical peat formed from a mix of jazz, R&B and psychedelic folk. Leading a band of Toronto’s finest including Ted Crosby (sax) Mike Smith (bass) and Evan Cartwright (drums), Isla showcases her affecting vocal presence that has made her an in-demand collaborator with artists such as Jennifer Castle and The Cosmic Range. An autumnal record influenced by the power of nature often found steps away from city streets, a diary of days spent within the valleys of Toronto, the moors of Scotland and the Irish countryside, Echo’s Reach is a tribute to the infinite and the resilence of those who forever seek to understand its meaning. Genre: Alternative / Folk / Singer-songwriter Listen: https://s.disco.ac/honhrdcdqjal Track list: 1. Song For Boots 2. Moon 3. Spider Owl 4. Spirit 5. Psyche (Valley, Girl) 6. I Went Looking 7. Weather 8. Young Woman 9. Psyche (Valley, Girl) reprise

MP3 album download included. Best New Music… 9.2 // ‘Dear Science’ cuts through genres like a laser through a music encyclopaedia, making strange connections, but always with pop clarity as the ultimate aim. — NME // Dear Science reprograms old‐school rock thrills for an ear‐budded nation, using surprising juxtapositions to explode familiar sounds. — Rolling Stone // (Dear Science) boldly took guitars where no album had gone before. And it did so with more creativity, daring and flair than any record since Radiohead's OK Computer. — The Guardian // The band’s third studio album released in 2008, Dear Science, opened with vintage TVOTR, but the nostalgia does not last. With Dear Science, the band continue to push the limit with sonic experiments that fill out the rest of the album. Track Listing: 1 Halfway Home 2 Crying 3 Dancing Choose 4 Stork & Owl 5 Golden Age 6 Family Tree 7 Red Dress 8 Love Dog 9 Shout Me Out 10 DLZ 11 Lover’s Day

Thomas Haines (TH) is a composer and sound editor who primarily works in film, TV and animation. TH has recently completed score and sound on cinema projects with artist film makers including Shezad Dawood, Georgina Starr, Noor Afshan Mirza, Brad Butler and Patrick Goddard. As well as writing music for picture, TH is a core member of the London Snorkelling Team, who recently performed the world Premier of Gavin Bryars' On Lassus for the Collège de Pataphysique in Paris. In 2022, TH wrote a large scale live percussion ensemble score for artist Georgina Starr's Gelato Balleto.

The two pieces on this LP were generated from musical material found within a 14-minute recording of Sainsbury's supermarket, Chingford, UK. The source recording contains music-like material, scanner bleeps and conveyor belt drones. This material, once isolated, cross-processed and re-recorded, reveals vivid extended electroacoustic versions of itself. The compositions use film sound restoration processing, mixed with compositional techniques popular in classic early electronic music and musique concrète including pointalist collage, and ring modulation.

The Jive Aces are the UK's top jive and swing band and are renowned for their high-energy jump jive and spectacular stage show in their hallmark yellow suits. The band’s repertoire stretches from the timeless tunes of the swing era to the glitz of the Rat Pack, with a dash of rhythm & blues, swinging jazz and the roots of Rock ‘n’ Roll and Elvis.
Originally forming in London the band gained steady success year by year and are the first live band to reach the semi-finals of "Britain’s Got Talent" famously putting grumpy Simon Cowell “in a good mood”. This was followed by a performance to the late Her Majesty The Queen as part of her Diamond Jubilee celebrations. They are unquestionably the UK’s finest band in their genre.
They performed at hundreds of festivals including Glastonbury, Montreux Jazz Festival and The Hop Farm Festival to name a few. They also headlined and sold out the first ever swing dance at the Royal Albert Hall. By popular demand the band will be featuring in their own show in London’s West End at the Aldwych Theatre this December.
During the pandemic, the band performed consecutively for over 500 days with free concerts on line to cheer people up and help get through the tough times.The band has a one month US tour scheduled for 2023 and diary full of shows throughout UK and Europe. They are in constant demand.

FIRST VINYL (VOL. 1)
SIDE 1:
1. I’m Gonna Sit Right Down And Write Myself A Letter
2. On A Slow Boat To China
3. Sweet Sue, Just You
4. On The Sunny Side Of The Street
5. Jeepers Creepers
6. It’s Been A Long, Long Time
SIDE 2:
7. I Can’t Give You Anything But Love
8. It Had To Be You
9. Wrap Your Troubles in Dreams
10. Ain’t She Sweet
11. I’m Confessin’ That I Love You/ It’s Only A Paper Moon
12. Ain’t Misbehavin’

SECOND VINYL (VOL. 2)
SIDE 3:
1. Rock ’n’ Roll Movie Star
2. Feeling Happy
3. Mama, He Treats Your Daughter Mean
4. No. 13 (Fruit Boots)
5. Choo Choo Ch’Boogie
6. Giddy Up A Ding Dong
SIDE 4:
7. Bad News
8. Alright, OK, You Win
9. I Want You to Be My Baby
10. Rock ’n’ Roll Boogie
11. Ain’t Nobody Here But Us Chickens
12. Jump, Jive and Wail

Wretch shows mysterious black metal band Anti-God Hand at the height
of its powers
Anti- God Hand are reportedly based in Vancouver and connected to brutal
electronica /// progressive Industrial /// ritualistic ecstatic ambient musician City,
though we can neither confirm nor deny such circumstances. We can tell you that
Wretch is positively cosmic and toys readily with established black metal tropes,
pushing so-called genre conventions in directions atmospheric, experimental and
electronic. Recorded in Vancouver, Andrew Weathers (claire rousay, Threshing
Spirit, Hayden Pedigo, More Eaze) mastered and Sebastian Ruslan provided
album art.
RIYL: Krallice, Deafheaven, Spectral Wound, Wolves In The Throne Room, Liturgy
File under: Metal, Black Metal

This album by German saxophonist, singer and composer Stephanie
Lottermoser's is about the aspiration for independence in all aspects of
life, finding your own voice, to deal with setbacks, and to generate
strength from those experiences
When it comes to music, Lottermoser has always consequently freed up space to
develop her own unique and recognisable language. Already the opener "Love
Again" makes it clear: This is Stephanie Lottermoser. Stylistically she stays true to
her distinctive synthesis of jazz, soul, funk, and pop - which is already known from
her previous album 'Hamburg'. "At best I try to develop by refining my own sound
and to free myself from the expectations of others."
The result: Eleven songs with clean compositional lines, catchy melodies,
emotionality and subtle virtuosity, far removed from academic sobriety and
affinity for technology. Or to put it in other words, Stephanie Lottermoser
deliberately scales down and frees up space.

Nikki Lane's remarkably dazzling third album Highway Queen, sees the
young Nashville rebel emerge as one of country and rock's most gifted
songwriters.Produced by Lane and fellow singer-songwriter Jonathan
Tyler, and recorded in Denton, Texas and Nashville, Tennessee, Highway
Queen is an emotional tour-de-force
Blending potent lyrics, unbridled blues guitars and vintage Sixties country- pop
swagger, Lane's new music will resonate as easily with Black Keys and Lana Del
Rey fans as those of Neil Young and Tom Petty. Highway Queen starts with the
whiskey-soaked restlessness of € 700,000 Rednecks, a rowdy call to action, and
ends on the profoundly raw Forever Lasts Forever, where Lane belts freely,
mourning a failed marriage, the lighter shade of skin left behind from her wedding
ring. Lane's journey to heartbreak takes exquisite turns. Companion is pure Everly
Brothers' dreaminess ( I would spend a lifetime/ Playing catch you if I can ).
Elsewhere, she goes on a Vegas bender on the rollicking Jackpot, fights last-call
blues ( € Foolish Heart ) and tosses off brazen one- liners at a backroom piano
( Big Mouth ). Lane, a Greenville, South Carolina native, is a unique songwriter
who didn't take the traditional country artist path. Her backwoods roots are
undercut by her chosen career as a fashion entrepreneur (she's the owner of
vintage clothing boutique High Class Hillbilly) who has lived " and been
heartbroken in " Los Angeles, New York and Nashville. So it's no surprise that her
music seamlessly crosses musical genres with lyrics steeped in the doomed
perseverance only a true dark horse romantic knows. Lane's rapid rise in music is
thanks to the fervent critical acclaim of her debut record Walk of Shame and
2014's Dan Auerbach-produced All Or Nothin'. Pressed on Blue Jean Color vinyl.

Actress Stephanie Hunt (Friday Night Lights, Californication) presents her
debut collection of sublime indie pop
Produced and engineered by Matt Pence at Echo Lab (Jason Isbell, Midlake, Sara
Jaffe), with contributions from Kelsey Wilson (Wild Child, Sir Woman), Dancy
Jenkins (Texas Gentlemen), and Shakey Graves, Ambitions of Ambiguity features
the single Life not On My Terms, and a faithful duet of Redd Stewart's Country
chestnut Which One Of Us Is To Blame? sung with Shakey Graves.

Legendary lost glitter-punk! - Once called the Doll's front man's favorite
band, these glamazons released one coveted 45 in the early 70s and
you'll pay close to four figures for one
Turns out they cut eight more studio cuts all stronger than that single! With
gender fluid cuts about S&M, spray paint, and bubble gum, this high heeled kick to
the teeth finally leaps from glammy glitter punk myth to your turntable on lipstick
pink vinyl & CD! Includes a 15 page liner note zine with the LP! .

If you're among the legions of Widespread Panic fans, you already know
that the band is legendary for never playing the same show twice or the
same song the same way twice - What makes this performance that
much more special is the inspiring presence of founding member
Michael Houser (whose nickname Panic inspired the band's name), who
died of pancreatic cancer less than two years later
As much as anything, this is a celebration of Houser's life and the sheer joy he
brought to a band that became one of the biggest draws on the international
concert circuit and created a vibe that makes the Panic experience unique in the
pop rock world.
But anybody who knows anything about them knows that Widespread Panic is so
much more than just a jam-happy rock band. From the time Houser and John Bell
(JB) began playing duets around Athens, Georgia, in the early 80's, their repertoire
ranged from early covers of the Grateful Dead and Bob Marley to a host of
original songs (among them Space Wrangler , included here) that demonstrate, as
The Village Voice wrote, a willingness to dip their collective toe into just about any
genre. This is classic Widespread Panic, including David Schools on bass, John
Hermann on keys, Todd Nance on drums and Domingo Ortiz on percussion.
One look at this show and it'll quickly become obvious there was something
strange going on in the house that night. Yes, it was Halloween, 2000, and the
rabid fans went beyond even their usual hard-core delirium. This was one time the
audience almost threatened to steal the show!
-Terry Lickona (Producer Austin City Limits).

Genre : Pop / Cinema / French Chanson. "De l'amour mais quelle drôle d'idée" is definitely the music album of an actress. Result of her collaboration with the french composer & singer Léonard Lasry who composed and produced entirely this album, it features 10 songs specially created to be performed as cinéma scenes on pop melodies with luxury arrangements. The poetry of the lyrics written by Elisa Point talks about intimacy with tenderness, melancholy with at some points several sarcastic touches. The album ends by "Via Condotti" performed as a duet with Léonard Lasry, already released last spring, and been the starting point of this surprising and enchanting album. Tracklist : 1. Magnifique N'est-Ce Pas 2. Ne Fais Pas Attention À Mon Amour 3. Non Je Ne Vois Pas Qui Vous Êtes 4. Je Ne Suis Pas Celle Que Tu Crois 5. De L'amour Mais Quelle Drôle D'idée 6. C'est Écrit Là Dans Nos Yeux 7. Roulette Russe 8. Assez Voyagé 9. Qui Vous Envoie ? 10. Via Condotti

MP3 album download included. Best New Music… 9.2 // ‘Dear Science’ cuts through genres like a laser through a music encyclopaedia, making strange connections, but always with pop clarity as the ultimate aim. — NME // Dear Science reprograms old‐school rock thrills for an ear‐budded nation, using surprising juxtapositions to explode familiar sounds. — Rolling Stone // (Dear Science) boldly took guitars where no album had gone before. And it did so with more creativity, daring and flair than any record since Radiohead's OK Computer. — The Guardian // The band’s third studio album released in 2008, Dear Science, opened with vintage TVOTR, but the nostalgia does not last. With Dear Science, the band continue to push the limit with sonic experiments that fill out the rest of the album. Track Listing: 1 Halfway Home 2 Crying 3 Dancing Choose 4 Stork & Owl 5 Golden Age 6 Family Tree 7 Red Dress 8 Love Dog 9 Shout Me Out 10 DLZ 11 Lover’s Day

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

"Let's Ride" found new life as the bed for KAYTRANADA's “Scared To Death and the track has slowly worked its way through the algorithm to a new generation of vapor huffers.

Six tracks of dark energy, driving rhythms, futuristic sounds and deep atmosphere by dutch producer Lloyd Stellar. Electro rooted in genre classics but with a very original touch. Don't miss!

Sofia Nøt from the project IAmNøt is a DJ and a producer from Bratislava/Slovakia, who just released her debut album “Changes”.
The album stems from the sounds of electronic dance music of the 90s and describes Sofia’s battle with gender identity. The music video for the track “Changes” won a prize at an international festival in Košice and participated in a prestigious ‘London Music Video Festival. In this video, Sofia kills her “old self” with an axe.

Since 2019 IAmNøt has posted her singles online. Many are also accompanied by story-driven music videos from director Simon Seriš. The music style comprises many genres, including breakbeat, techno, and synth-wave.
In the past three years, Sofia played DJ’s sets filled with breakbeats and 4/4 rhythms across the Czech Republic and Slovakia. You could see her, for example, at the Brutal Assault festival this summer.
Sofia’s debut album “Changes” was released on 9th September and is now available on all major digital platforms and a 12” LP vinyl record.

All tracks were written, produced & recorded by Sofia Nøt

except ‘Estrogen’: written by Sofia Nøt & Pkrek and

‘2020’ contains a guitar by Jakub Spiszak