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Das vierte Album der Clark Sisters für Westbound-Sublabel Sound Of Gospel ist jenes, das sie fest in den Crossover-Markt gedrängt hat. Während es in Tracks wie 'My Cup Runneth Over' traditionelle Soul-basierte Gospel-Kost gibt, zogen einen die Disco-beeinflussten Juwelen 'My Life Is Complete With Jesus' oder 'Everything Is Gonna Be Alright' auf die Tanzfläche. Die Clark Sisters waren eine der großen Gospelgruppen und auch Teil einer großen Gospel-Dynastie um Mattie Moss Clark und Bill Moss. Geschrieben, produziert und arrangiert von Kernmitglied Elbernita 'Twinkie' Clark, enthält das Album instrumentale Beiträge von Detroiter Soul-Songschreibern wie Melvin Davis und Leroy Emmanuel von den Counts. Obwohl die Clark Sisters eine der meistverkauften Gospelgruppen aller Zeiten sind, ist dies die erste LP-Neuauflage von 'He Gave Me Nothing To Lose' seit seiner Erstveröffentlichung im Jahr 1979.

Percy Sledge’s 1966 worldwide smash “When A Man Loves A Woman” did more to internationally establish southern soul than any record up to that time. The man from Leighton, Alabama subsequently became one of Atlantic’s biggest artists, charting 11 R&B/Pop hits in three years.
Nevertheless, as the 60s drew to a close, Atlantic’s interest in Percy inexplicably dwindled. Very few masters that his producer Quin Ivy sent from Sheffield, Alabama to New York saw contemporaneous release, although some eventually appeared in countries like South Africa, where Percy was revered.
The tracks on this exceptional ‘maxi single’ waited till 2010 to debut digitally. Percy’s terrific take on Aretha’s “Baby, Baby, Baby” dates from August 1969, the others from his penultimate session for Atlantic. Great songs too from Swamp Dogg and the late Gordon Lightfoot; either of which could have given Percy a hit in 1972.
We’ll never know why they weren’t issued then – but let’s be grateful to Soul4Real for making them available on vinyl now…

LOUIS VI, Rapper, Produzent & Multiinstrumentalist aus dem rauen, aber kulturell pulsierenden Norden Londons, schöpft aus Hip-Hop, Jazz, Electronica, Afrobeat, Funk, R&B und Soul, um einen Schmelztiegel zukunftsweisender Sounds zu schaffen. Sein 2018er Debüt SUGAR LIKE SALT wurde von Kritikern wie Gilles Peterson, Jamz Supernova, BBC1XTRA, Frank Ocean & NOISEY hochgelobt. Nun folgt EARTHLING auf dem Nightmares On Wax-Label HiyaSelf Recordings, ein outrospektiver, psychedelischer Trip, ehrlich und exzentrisch, mit Geschichten voller Freude, Wut und Entdeckungen vor dem Hintergrund von Polizeibrutalität, Rassismus und kolonialem Erbe. Dieses karibisch-französisch-britische Erbe erklärt die alternative Interpretation von Londoner Hip-Hop & Jazz des jungen Künstlers.

Lost soul phenomenon Lewis Taylor's Numb finally arrives on double vinyl! One of UK soul’s most fascinating artists, most enigmatic figures and most under-appreciated talents, Andrew Lewis Taylor is a prodigious multi-instrumentalist and eclectic polymath. He enjoys a fiercely loyal following which, over the years, has included celebrity champions like Bowie, Elton and D'Angelo. Numb is Taylor's sixth album, initially released on his own label Slow Reality (an anagram of his name) and licensed to Be With for this long-awaited physical edition. It captures Taylor's wholly unique, intoxicating take on lush, late-night psychedelic soul music.

Lewis wrote and recorded these 10 brand new tracks after a 17 year break from making music, although the album came together over a two-year period. The years away have done nothing to dull Taylor's unique musical vision. He still astounds. The lyrical themes, however, have shifted. Understandably, more than a decade and a half of soul searching and unflinching self-examination cannot fail to influence this most honest of songwriters, and boy does it show. Numb marks a return to the darker, more mysterious side of his output: "Brian Wilson-channels-Smokey Robinson atmospheres", as Mojo put it recently.

After playing a rapturously received gig at the Bowery Ballroom in NYC in 2006, Lewis unceremoniously walked away from music and disappeared completely. An interview in 2016 shed light on some of the reasons for Taylor’s withdrawal from the business, but there was no hint of a return anytime soon. Then in June 2021, news emerged out of the blue that he was readying new music alongside Sabina Smyth with whom he had worked first time around.

On Numb, Lewis deftly balances stark, soul-bearing lyrics with moody mid-tempo pop-soul sheen. He deals candidly with depression, mental turmoil, even thoughts of suicide - clearly more personal than Taylor's earlier songs. The music is rich, warm and layered, with infectious melodies and hooks that stick with you. A true grower of an LP, it really does reward repeated listens. As Jim Irvin in Mojo reflected, "despite the depths these plumb, it's a curiously uplifting experience, unfurling like a concept album about life's challenges with an optimistic beauty at its heart."

Triumphant dubwise horns ring out yet, almost instantly, “Final Hour” takes on a dark, downbeat vibe. With lyrics that confront (and, seemingly, confound) death head-on, Lewis ensures the groove is still there, the beats still swing and your head still nods, strings glissade. Woven around delicate yet insistent piano and subtle strings over a killer bassline, the title track “Numb” is a good example of the lyrical themes throughout the album. As Taylor reflects, "So removed I feel no pain / And for all I know I could be having the time of my life" with a coda that feels very much in conversation with Brian Wilson's finest harmonies. "Feels So Good" is sophisticated 90s-sounding soul of the highest order. The music and vocals feel simultaneously optimistic and despondent. Downlifting. A neat trick, and one Lewis has been so adept at over the years. "Apathy" is a mini-epic, a symphonic-soul gem which builds and glides and, eventually, soars. “Worried Mind" is another slow-builder, creeping out the gate in a sketchy, discordant fashion before climbing to half-crescendo but never quite breaking free of its disorientating restraint.

The brighter "Please" presents a more hopeful mood, with the refrain "I still believe" ringing out as Lewis harmonises with himself. "Brave Heart" quietly struts from step one, as Lewis's falsetto swaggers over a downtempo backdrop with ace echoey drums, beautiful strings and serene electric guitar. Closing out Side C, "Is It Cool" answers its own (non-) question with a spellbinding five and a half minutes of swoonsome deep soul that oscillates between a restrained, barely-there backdrop and a lushly full musical accompaniment of acoustic and electric guitar and organ over bass and slick drums. The penultimate track "Nearer" is a magical, soul-stirring ballad in which Lewis sings of reaching a sweet salvation and achieving a peace of mind. If the hairs on the back of your neck aren't standing up by the midway point, you might need to check your pulse. Album closer and true tear-jerker "Being Broken" places Lewis's gorgeous voice high in the mix and the wordless falsetto and melodies invite you to ponder what Pet Sounds might sound like if it were refashioned as a dubby 21st Century electronic soul album. Astonishing.

Simon Francis’s vinyl mastering spreads out the ten tracks over a double LP so, as ever, nothing is compromised. And as usual, the records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Turn it up and let the Lewis Taylor sound envelop you.

Stoned Part I was the first self-released album from lost soul phenomenon Lewis Taylor. His third album proper, it was initially released on his own label Slow Reality in 2002 and it's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. The songs are varied, hook filled and outstanding. Beloved by his legions of diehard fans, it's nothing short of a masterpiece.

After parting ways with Island, and without a label deal, Lewis went back to his home studio and began to record Stoned Part I in 2001. Co-written and co-produced with longtime collaborator Sabina Smyth, Lewis sings and plays all the instruments on this beautiful, emotional and very human album. It represents Lewis at his most accessible and finds him in the middle ground between his two Island releases. In some ways, Stoned Part I distills the best of his musical sensibilities. The flawless production is dense, layered and very early-2000s slick. The bottom end is thick, funky and sexy.

The complex, proggy-soul of title track "Stoned" opens the album and instantly captivates. Deep swinging funk with truly sweet soulful vocals, complemented by wah-wah guitar and swelling acidic synths. As Lewis himself told us, the ad libs at the end of the track were a nod to Paul McCartney at the end of "Hey Jude". Fan favourite "Positively Beautiful" has shades of Curtis and Marvin; its richly layered harmonies propelled by a simple, metronomic click-track that gives way to a more fully fleshed beat for the magnificent coda.

The slow, sweeping majesty of "Lewis IV" is all moody atmosphere, featuring dense, richly textured music and heavenly multi-tracked harmonies. The stop-you-in-your-tracks incredible "Send Me An Angel" could have been a huge AM radio hit, beautifully crafted sophisticated soul-pop songwriting in the vein of the very best Sade records. Yep! *That good* The smooth, psychedelia-lite "Til The Morning Light" is a gorgeous, sun-dappled love song, layered with Lewis' distinctive honey drenched vocals and, again, the type of record you could've easily heard all over the radio at the time of initial release.

The remarkable, wide-eyed "Shame" packs so many shifting styles into one song, it has to be heard to be believed. Opening in a laconic, breezy style, not unlike a Dallas Austin or Rodney Jerkins produced R&B hit of the day, it morphs into a heavy psych-soul Soulaquarians wig-out (the solo bearing an uncanny resemblance to Carlos Santana’s on "She’s Not There") before elegantly sliding into string-assisted symphonic soul and then back around again. And again. Sheer brilliance. The sublime, gentle head-nod funk-soul of "When Will I Ever Learn" (Part 1) is a strikingly well-turned-out tune, a neat, sweet bass-driven guitar-soul jam that ensures our jaw won't be leaving the floor anytime soon. "Lovin’ U More" sounds like a classic turn-of-the-century Neptunes production, the likes of which they'd lay on for JT BITD. A Latin-tinged groover with more than a little Nile Rodgers-driven slick funk stylings, it's yet another instant Lewis bomb with those gorgeous harmonies and chart-friendly irresistible key-changes to boot. Another indisputable (non-)HIT!

The funky seductive swagger of "From The Day We Met - Part II" opens the final side of wax, giving way to the gigantic buzzing synth-funk beast "Lovelight", a track so insouciantly mighty it should have been a massive hit for someone. Wait, what's that? Robbie Williams covered it? Ah, OK, well, I guess that says something about the effortless pop genius contained within. Containing a seemingly unnoticed nod to Kraftwerk’s "Computer World", it's Lewis's favourite song on the album. It's easy to hear why: "Sabina’s production totally nails it. I love the restraint and the subtlety, and that mixture of warmth and sweetness from the singing against the slightly cold, yet beautiful airy-ness of the backing track." To close this phenomenal album, the twisted electronic soul of "Sheneverdid" marries Lewis's beautiful falsetto to his virtuoso playing and an easy-cum-ominous musical backdrop. Stunning.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the eleven tracks over a double LP so, as ever, it sounds sensational. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned.

Stoned Part II is Lewis Taylor's pure, perfect dance-pop album. His second self-released album and fourth album proper, it initially appeared on his own label Slow Reality in 2004. It's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. Gravely misunderstood at the time by hardcore fans and the music press alike, it has aged quite magnificently. An experiment in the sounds of contemporary pop and dance music, Lewis's wonky take on funky pop would annihilate anything kicking around the charts, then or now. If only it were given half a chance.

Stoned Part II is brimming with Lewis's trademark soul, his singing as beautiful as ever, but the rhythms throughout are more upbeat, the overall sound a more smooth and slicker dance-funk presentation. Roughly half the tracks are absolutely essential, fascinating re-workings of tracks from the eternal Stoned Part 1, as Lewis explains: "When we were doing Stoned we were trying different approaches with everything so we ended up with more than one version of nearly all the songs which left us with more than an album's worth of material. There was a lot of really cool house tunes around at the time which we were both really into and that shaped the sound and production, some songs more directly than others." Amen to that.

The swoonsome, string-drenched opener "Madman" is quite the departure, a bleepy, bumping soulful disco-house record with a bassline to die for. Is there anything he can't do? It's followed by another huge dancefloor stomper, "Keep Right On" again riding another killer bassline over funky drums and featuring Lewis's dazzling vocals. There's no let-up with the sparkling "Reconsider" which sounds an awful lot like Daft Punk meets Nile Rodgers (prescient as ever, our Lewis). The wide-eyed French filtered house vibe is to the fore here, and how this wasn't picked up by someone like Kylie and taken wholesale to the top of the charts is something we'll never understand.

Opening the B-Side, "When Will I Ever Learn 2" really slaps, presenting a breezier, more upbeat funk take on the brilliant original and incorporating "From The Day We Met" from Stoned Part I. "Out Of My Head Is The Way I Feel" is absolutely fantastic and one of Lewis's very best songs. The vocals, self-harmonising and virtuoso playing are next level. To close out the side, "Carried Away" is a real standout, Lewis's gorgeous falsetto riding a quasi D&B groove to begin with before adorning a more classically funky 2-step rhythm. The marriage of undulating synths and guitars is stunning, giving way to Lewis indulging his goosebump-inducing Brian Wilson harmonies.

The funky, Rhythm King drum machine soul of "Stoned Part 2" refashions the original in the style of an unearthed Sly Stone classic, circa There's A Riot Going On. Yes, it's that good. On we then glide to "Positively Beautiful 2" which, if it's even possible, manages to be better than the original. The epic, orchestral opening truly captivates before Lewis truly gets down with kaleidoscopic dancefloor-slaying Philly soul-funk. It's surely tracks like this which help explain why he was soon to be tapped up by Dangermouse and Cee-Lo for the musical director role with Gnarls Barkley. "Throw Me A Line" closes out the side

"Shame 2" is a blissful, restrained version of the massive original, without the crazy psych-soul wig-out. Definitely more radio-friendly, that's for sure. The gorgeous mellow vibe continues with "Won't Fade Away", featuring more Beach Boys harmonies over a barely-there pulse (a version of which later pops up in an altered state on The Lost Album). The album bows out with - you guessed it - a psych-soul wig-out! "Keep On Keeping On", a real highlight, opens with looped sampled drums a la Massive Attack and Lewis's multi-layered self-harmonising again very much high in the mix. It amps up gradually to feature vocals dripping with tune and bite before screaming guitars and crashing drums really blast this whole set into the stratosphere.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the twelve tracks over a double LP so it sounds exactly as it should. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned, Part II.

Nachdem seine intime Underplay-Show-Tour „SHHH“ im März binnen Sekunden ausverkauft war, kündigt Archy Marshall sein mittlerweile viertes Studioalbum „Space Heavy“ als King Krule an. Erscheinen wird es am 9. Juni bei XL Recordings. Zehn Jahre nach der Veröffentlichung seines umjubelten Debütalbums „6 Feet Beneath the Moon“ zeigen die 15 neuen Songs den britischen Songwriter auf der Höhe seines Schaffens.

Entstanden ist das Album zwischen 2020 und 2022, als Archy Marshall sowohl London als auch Liverpool seine Heimat nannte und viel Zeit auf den Reisen von einem zum anderen Ort verbrachte. Während diesen Trips entstand seine Faszination für „the space between“, wie er es nennt: die Orte, die von Träumen voller Liebe verfolgt werden, während sich Archy in seinen Texten mit persönlichen Verlusten befasst. Nachdem die Texte fertig waren, entstand die Musik gemeinsam mit dem Produzenten Dilip Harris sowie seiner langjährigen Band, bestehend aus Ignacio Salvadores (Saxophone), George Bass (Schlagzeug), James Wilson (Bass) und Jack Towell (Gitarre).

In den 15 Songs von „Space Heavy“ verbinden sich viele Elemente seiner bisherigen Karriere mit dem klanglichen Kosmos, der ihm das Attribut als eine der Stimmen seiner Generation einbrachte. Die dichten Lyrics seines Debüts, die Verschiebung seines Sounds bei „The OOZ“ (2017), die Ursprünglichkeit von „Man Alive!“ und die rohe Verletzlichkeit, die er auf „You Heat Me Up, You Cool Me Down“ zeigte, fließen in den Sound seines neuen Albums ein.

Mit der Albumankündigung erscheint die erste Single „Seaforth“ mitsamt Video, bei dem seine regelmäßige Kollaborateurin und Visual Artist Jocelyn Anquetil Regie geführt hat.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

Who would be better suited for remixing the Skudge classic? It's not a far-fetched idea, as we now see the remix 12" of Convolution featuring Levon Vincent.

Classic late 00s Levon Vincent style of rhythm and pace meets Skudge's hallmark sound.

It's been over a decade since Skudge took charge and urged us to "Give it all up". 'Convolution' forged two distinct genres while avoiding the trap of losing the attitude of both. The track was a strong take on Techno and House simultaneously and brought something new and interesting to the table.

Fast forward a decade since this effort marked the beginning of the Skudge journey, which not only caught the middle ground between Techno and House but also the ears of fellow producer Levon Vincent.
Levon is a prominent name in the oceanic underwater funk, touching strands of Dub, Techno, and House.

Levon delivers two versions, where the Scream Version captures the UK sound of anarchistic basslines similar to 'Basemental' from '95, on the A-side.

Flipping over to the B-side, one can hear the 'Convolution' atmosphere echoing between Levon and Skudge respectively.

In the digital age, words are no longer just symbols of communication, but a powerful tool that gives rise to meaningful interconnections between different universes.

Words have the power to transcend time and space, connecting two souls destined to meet.

Il Significato delle Parole (the meaning of words) is Adiel's new effort on her DanzaTribale, a crossover of two minds, generated together with musician Flavio Accorinti: techno sounds like the restless soul that pervades our days, deconstructed atmospheres like shattered generational dreams. The fusion of two cosmic currents, two ways of thinking and creating, characterized by an immanent power, pushing us to imagine new urban primitivism. Two creative processes, transcending individual boundaries to connect into a single overarching vision, to explore new forms of art and storytelling.

The EP, mixed by Donato Dozzy and mastered at Rome's Enisslab Studio by Giuseppe Tillieci, starts with Nulla Resta, a defragmented, dreamlike, ascending climax markedly cyberpunk: dense with references to 90s Progressive Dream, Nulla Resta, with its dulcet melodies, transports us to an artificial reality, a spiritual reality albeit dominated by technology. A reality suspended between fantasy and materialism.
Suspended, like the second track (Sospesa): dark trip-hop's echoes adorned by the voice of Jordie Devlin Mcmorrow. "Shadows on the walls orchestrate our downfall." Dystopian futures intertwine with mysteriously dreamy pasts in a fatal spiral of redemption.
But words remain the catalysing element of this EP.
Parole(words) represents a communicative rare faction that embraces tribes near and far. Black drums echo in the distance in an intimate ballad, in an epic ride, in an ethereal metaphysical journey to the dissolution of the boundary between time and space, between memory and perception.
Notturna, on the other hand, is the epilogue we all deserve; a solemn twilight, a lysergic, dragging escape from the objectivity of the real world.

The images of life do not simply exist in a vacuum. They are defined by the energy that surrounds them, and it is the explanation behind each of these words that we must find if weare to truly understand them. Thanks to the meaning of words, sooner or later, we will be all united again.

As the first 45 off of the acclaimed concept album "Sage Motel," "Love You Better / The Shape Of My Teardrops" gives you a look into that mysterious, soulful, and cinematic world. Featuring a brand new 45-cut of 'Love You Better,' this 45 invites you to sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

Amniote Editions team up with friends and bbs of Mala Junta for "The Collective Capsule" - a celebration of 5 years of Berlin's favorite queer event. The capsule collection consists of a 12" cordially made up of 4 belters from the residents Hyperaktivist, Yazzus, DJ Tool and D.Dan, two compilations stacked with friends and lovers and limited merch.

The capsule also launches 'Amniote Editions' return to graphic design studio Alexis Mark, who were part of the birthing of the platform and now presents their first cover design as a multilayer 12" gift - a record wrapped in a beautiful poster protected by a limited edition screen printed PVC sleeve.

More recently best regarded as soundtrack composer, Ben Frost here follows work with interdisciplinary sound artist Francesco Fabris on the »Dark« OST with a plunge into purest rock music, as in the actual sound of molten material rising to the surface and solidifying. With an impressionistic-artistic license also found in work by Chris Watson, Jana Winderen or Giuseppe Ielasi, the duo uncompromisingly revel in the sounds of nature’s biting point, using various production methods to make audible the sound of the earth beneath our feet in the process of creation, on location at Fagradalsfjall, Reykjanes Peninsula Iceland.

»As stable as we might choose to think it is, this planet is anything but that. A paper thin crust, the zone in which we find ourselves, and mostly concern ourselves with, exists as a modest veil cloaking a dynamic seismic turbulence that is as powerful as it is unknowable. There are moments though where ruptures occur. The pressure from within carves its way to, and through, the surface of the planet simultaneously delivering destruction and virgin landscapes, as primordial as any we might care to imagine. It is here, in these places, where we can literally see the living planet, that geologic time is condensed and world building is made visible, and audible to us, in an unrestrained and provocative detail.

These volcanic ruptures, such as those captured on Vakning by Francesco Fabris and Ben Frost, speak to the very living geology of Earth. These recordings, captured at close range, exist at a nexus where liquid rock becomes solid. They capture moments of transformation, of obliteration and of creation, often all at once. These are recordings of a living, material planet, dynamic and unrestrained«. (Lawrence English)

The album Symposium Musicum is developed from field recordings, interviews, and observations collected in the villages of Podolínec, Lomnička, Levočské Vrchy, and Kolačkov - all areas of the eastern and north-eastern Slovakia with significant Romani enclaves. The pieces resulting from these interactions encourage the listener to tune in for a delicate negotiation of language, (audible) gesture, and storytelling.

The collaboration with the local participants appears lighthearted and whimsical on the records, but this seeming easiness is clearly a result of devoted fieldwork planning and committed post-production. The curated compositions represent and emphasize not only performative aspects of the acoustic activities but also point attention to seemingly non-productive aspects of creation, such as silence, hesitation, observation, perception, or waiting.

Sound experiment and preservation is not the only goal of the project. Some of the records capturing acoustic activities in peculiar places but also carry an element of social novelty that accompanied their making - according to the locals in Lomnička, the recording visitors were the first non-Romani persons who spent the night in the village.

In many instances, these recordings explore liminal spaces that have lost their original function (a church ruin or an out-of-business grocery store) and became a lively territory for acoustic exploration and playful reciprocity. For instance, in track 7, "Kavka", local children used crackling leaves as percussion devices.

Such moments betray a high level of engagement in the subtle details of the recorded spaces and their social ecologies. According to the creators, their creative processes involve "a social sound practice" as an attitude towards exploring sound in its social setting.

Symposium Musicum leaves behind many aesthetic conventions of sound capture and what is considered "musical", including the usual notions of a linguistic unit, narrative, memoir, and play. Instead, it engages in a self-reflective questioning of the way we listen to the world around us.

This project invites us to experience places outside the divided sociolinguistic provinces, resulting from multigenerational displacement and neglect of the Romani communities from the explored areas. The result is in many ways revelatory and poetically impactful.

The next chapter of the Natural Information Society is here. Since Time Is Gravity, credited to Natural Information Society Community Ensemble with Ari Brown, presents a newly expanded manifestation of acclaimed composer & multi-instrumentalist Joshua Abrams nearly 15 year, 7 albums &-counting flagship ensemble. Joining the core NIS of Abrams (guimbri & bass), Lisa Alvarado (harmonium) Mikel Patrick Avery (drums) & Jason Stein (bass clarinet) are Hamid Drake (percussion), Josh Berman & Ben Lamar Gay (cornets), Nick Mazzarella & Mai Sugimoto (alto saxophones & flute), Kara Bershad (harp) & Chicago living legend of the tenor saxophone Ari Brown. Recorded live to tape at Electrical Audio & The Graham Foundation, cover painting Vibratory Cartography: Nepantla, by Lisa Alvarado. 2xLP on Eremite USA, 2xLP & CD on Aguirre/Eremite Europe. Out 14-04.

Since first developing Natural Information Society in 2010, Joshua Abrams has been gradually expanding the group’s conceptual underpinnings, its musical references & the sheer number of the group’s members. Its music is, in a sense, an expansive form of minimalism, based in repeated & overlaid rhythmic patterns, ostinatos & modality. Its roots, its scale & its meaning become clearer in time. If time is gravity, it also allows us to carry more. Having begun as fundamentally a rhythm section with Abrams’ guimbri at its core, the version here can stretch to a tentet, including six horns.

Abrams has been expanding his minimalism gradually, but he has long understood a key to minimalism’s potential: the breadth of its roots in the late 1950s & early 1960s, ranging from the dissatisfaction of young European-stream composers with the limitations of serialism to the simultaneous dissatisfaction of jazz musicians with the dense harmonic vocabulary of bop & hard bop. The former began exploring rhythmic complexity & narrow tonal palates in place of harmonic abstraction (Steve Reich’s Drumming, Philip Glass’ Music with Changing Parts; perhaps above all Terry Riley’s In C & his late ‘60s all-night organ & loop concerts); the later reduced dense chord changes to scales (signally with Miles Davis' Kind of Blue, but rapidly expanding with John Coltrane’s vast project). In the 1950s the LP record opened the world with documentation of Asian & African musics, key influences on both minimalists & jazz musicians. If John Coltrane’s soprano saxophone suggested the keening shehnai of Bismillah Khan, the instrument was rapidly taken up by two key minimalists, LaMonte Young & Riley, similarly appreciative of its flexible intonation, the same thing that kept it out of big bands.

If the guimbri, the North African hide-covered lute that Abrams plays with NIS, involves a rich tradition of hypnotic healing music associated with the Gnawa people, Abrams’ music also touches on other musics as well — other depths, memories & healings, different drones, rhythms & modes. As the group expands on Since Time Is Gravity, he has made certain jazz traditions in the same stream more explicit as well. If there is a mystical & elastic quality involved in the experience of time, both in direction & duration, you will catch it here. The parts for the choir of winds expand on the roles of Abrams’ guimbri, Mikel Patrick Avery & Hamid Drake’s percussion & Lisa Alvarado’s harmonium: at times, the winds are almost looping in the tentet version, each hitting a repeating note in turn, at once drone & distinct inflection on temporal sequence. The brilliance of the work resides in Abrams’ compositions, the NIS’ intuitive execution & in Ari Brown’s singular embodiment of the great tenor saxophone tradition, including the oracular genius of Eddie “Lockjaw” Davis, & Yusef Lateef. The three pieces by the expanded NIS featuring Brown —the opening “Moontide Chorus” & “Is” & the ultimate “Gravity”— have an immediate impact, & togther might be considered a kind of concerto for tenor saxophone. Here Brown presses almost indistinguishably from composed melody to improvised speech, getting so close to language that he might have a text. Everything here is a sign. Note the tap of the Rhythm Ace that links “Moontide Chorus” to “Is”, the attentive heart always present, even when signed by a machine. There’s a link here to the methodologies & meanings of dub music & the linear & vertical collage of beats, textures & tongues: treated with reverence, a sample of a beat-box can be as soulful, as hypnotic, as a mbira or a tamboura. If those pieces with Brown are heard as a suspended concerto, the three embrace & enfold the other works, like the sepals of a flower. That placement will also touch on the mysteries of our perception of time.

Particularly in “Is”, but elsewhere as well, a phenomenon of transcendence arises in which time appears to be tripartite, at once moving backwards & forwards & standing still. This is an act of technical brilliance certainly, but also an illumination of music’s ability to represent temporal consciousness through polymetrics. This particular listener has only heard it before in a few places, including the horn shouts & bowed basses of Coltrane’s Africa, in moments of Charles Mingus’ The Black Saint & the Sinner Lady, in certain pieces where tapes were literally running backwards, & earlier still in Dizzy Gillespie’s Cubana Be, Cubana Bop, in which the composer George Russell & conguero Chano Pozo found a music that spoke at once in the voices of Stravinsky’s Rite of Spring & the vestigial rites, rhythms & songs of the Yoruba language & Santeria religion of inland Cuba.

In Joshua Abrams’ compositions & the realization of them by the NIS, in the time of one’s close listening & memory thereof, distinctions between the “natural” & the “social”, the “quotidian” & the “transcendent” are erased, suspended or perhaps irrelevant. Consider two of the ensemble pieces, one named for nature, the other social science. In “Murmuration” the repeated wind figures of flute & alto saxophone combine with the interlocking patterns of harp, guimbri & frame drum (tar) to create a perfect moving stillness, not an imitation but a witness to the miracle of the starlings’ astonishing collective art, a surfeit of beauty that might be the ultimate defense tactic.

“Stigmergy” takes its name & concept from the Occupy movement’s Heather Marsh, who proposes a social system based on a cooperative rather than competitive models, one in which ideas are freely contributed & developed as ideas rather than an individual’s property. In its form, Abrams’ “Stigmergy” is the closes thing to traditional jazz, a series of accompanied solos by each of the wind players. However, the composed accompaniment is a radically collectivist notion: a repeated rhythmic figure, call it ostinato or riff, in which the different winds each play only a note or two of the figure, a concept both more collectivist & individualistic in its conception than any typical unison figure. It suggests another of the underlying recognitions that propel the Natural Information Society, the group as social organism, the teleology of hypnotic anarchy, all parts in place, functioning systematically, evolving & expressing itself, its nature & society, as a transformative organism.

George Lewis has described music as “a space for reflection on the human condition”. This suggests that, rather than a “distraction”, at least some music might serve as a distraction from distraction. It’s a focus, a clarity, a awareness, an external invitation to interiority, as if music itself is a model for form & contemplation, an organism contemplating for us or as us. If that is a possibility, & I am sure I have heard such musics, than this music is among them. How many of our rhythms, melodies & harmonies (cultural, historical, biological, psychic) might such music carry, translate & transform in the particulate ecstasy of our own murmuration? (Stuart Broomer, April 2022)

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.

*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.

*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.

*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.

*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

Clear Vinyl

Cairo’s trip hop, illbient and club producer Hashem L Kelesh aka Dijit documents a decade of sprawling productions at his home studio, fuelled by the energies of his friends and collaborators.

Populated with the vocal presences of vocal spars Deedz, 7aleeb, and Lella, ‘The Room’ is a metaphoric synecdoche for Kelesh’s studio output between 2008-2019, featuring 9 tracks of lo-slung but levitating trip hop and illbient that overlaps his productions on the long sold-out ‘Hyperattention: Selected Digital Works Vol.1’ album, and augmented by a number of fiery percussive pieces and future folk works that give a wider frame of reference to his style.

While the album follows the smoke curl dynamic of his previous work, the glorious mesh of electro-chaabi breaks and Eno-esque ambient guitar licks on ‘Dreak’, and the heat-seeking street rave scenes of ‘Saga’ will no doubt disrupt your preconceptions, while his folk prayer-like ‘Loli’ reaffirms a knack for captivating downbeats. ‘Leban’ brings a chopped ’n screwed trip hop temporality, deploying laminar layers of male/female vocals that inevitably call to mind Tricky via Leila Arab, while ‘Hasheesh’ trades in red-seal levels of heads-down pressure shades away from Portishead or even Pessimist’s snapped productions.

Dijit smartly manages to keep it all just the right side of gloomy though, with the shatterproof tension between screwed vox and ascendant hyaline electronics on ‘Hamhama’, or likewise in the high-register piquancy and celestial chorales of ‘Dream of a bee’, while the upfront burst of drums in ‘Saga’ will bring heads to their feet.

Formerly known as James Lascelles’ Quartet, Talking Spirits present a unique blend of world jazz. These highly respected London based session musicians - with a very mixed repertoire - have touched audiences wherever they play. The quartet mixes up world music, folk, jazz and Anglo/Caribbean grooves, inspired by influences from all over the world.

They have honed their skills over the decades working with some of the biggest names in music, including Frank Zappa, Joan Armatrading, Lee ‘Scratch’ Perry, L Shankar, Ginger Baker, Jeff Beck, Steve Winwood, Incognito, Van Morrison, Billy Ocean, Mick Taylor and Steve Harley & Cockney Rebel.

The new Talking Spirits album ‘Hands’ will be released on Zephyrus Records early June. Tracks feature regular band members James Lascelles (various keys and percussion), Tim Herniman and former bandmates from the legendary Breakfast Band Richard Bailey (drums and percussion) and Kuma Harada (bass and guitar). Guests appearances by Tony Maronie on congas, Didier Malherbe (once of “Gong”) on duduk and sax, and the wonderful Mongolian group Andaunion, for whom James specially wrote Grasslands to feature the haunting morinhuur (horse-hair fiddle) and hoomei or overtone singing.

Das selbstbetitelte Debüt von ENVY OF NONE, der bunten Zusammenrottung von Gitarrist/Keyboarder Alf Annibalini, Rush-Gitarrist Alex Lifeson, Bassist Andy Curran (Coney Hatch) und Singer/Songwriterin Maiah Wynne war eine der spannendsten Grenzgänger-Platten des Jahres 2022 und hat sich bis heute nicht abgenutzt. Die Band schreibt schlicht verdammt gute, emotional greifbare und musikalisch fesselnde Lieder in einem Spannungsfeld aus State-of-the-Art-Elektronik und Rock/Pop-Tradition.

Die nun nachgeschobene EP "That Was Then, This Is Now" dient ihrem Titel entsprechend als Standortbestimmung und enthält zwei Tracks aus den Debüt-Sessions, zwei Remixe und das erste nach "Envy of None" komponierte ´That Was Then´. Stilistisch war das Quartett von Beginn an so vielseitig, dass man nun nicht von einer zusätzlichen Erweiterung ihres Repertoires sprechen kann - doch das famose Songwriting bleibt erhalten, und für Rush-Fans noch besser: Lifesons Spiel schimmert noch einen Tick präsenter durch.

´Lethe River´ ist dem Album-Opener ´Never Said I Love You´ relativ ähnlich, aber insgesamt doch ruhiger. Darauf folgt mit ´You´ll Be Sorry´ sachte brodelnder und zischender Industrial light, der ebenfalls auf "Envy of None" hätte stehen können - was ja auch plausibel erscheint, weil beide Stücke im gleichen Rutsch entstanden sind.

Since we've known him, Robert Lloyd has made quite clear his enormous affection for the songs and sounds of Freakwater, the duo of Janet Beveridge-Bean and Catherine Irwin who've been wrongly denied their place as rightful and willful progenitors of alt-country's 'movement', which (frankly) is to their credit. Their genius in offering absolute authentic to the sound old-time Appalachian folk music with a modern façade that in no way negates tradition (one of their albums is titled Feels Like The Third Time) is unparalleled within the genre, and Freakwater remain under-appreciated. After the start of Covid, Robert dared approach Janet with the idea of recording together. Over the course of the long pandemic, songs were bandied about for months, and when recording was finally practical, a band was assembled with dates set up for a recording session in Valencia, Spain. Robert and Janet were joined by Robert's long-time ally, Pete Byrchmore, the musical foil for Robert's solo album on Virgin and a former Nightingale, Mark Bedford, the bassist for Madness and Terry Edwards' Near Jazz Experience, and Pablo Roda, Spanish mystery drummer, couldn't have worked out more perfectly. Tracks were selected without regard for collective presentation, just the goal of walking out of the studio with an album of perfect gems. Forget Lee & Nancy or George & Tammy, Rob and Janet have an immediate chemistry that only sounds long-lived - and too uniquely them to merit any comparison. The title track, Black Cat, Dark Horse is the sole Lloyd / Bean / Byrchmore composition and one of the record 's highlights. Jim Elkington, collaborator with Jeff Tweedy and Richard Thompson, contributes Heavy Reckonings and a song written with Janet, The True Lovers' Knot And The Lie, while Robert adds reworkings from past releases - Sweet Georgia Black and Black Country (with Pete) - not to mention the unreleased Eggs And Bacon. Janet brought One Shot and the unheard Freakwater song Arc Of A Smile. Covers of tunes from Dion and The Monkees and a magnificent Jon Langford song, "Tears Like Stars" round out the album. We daresay the album is among the finest you'll hear in 2023. That it doesn't fit perfectly into any preconceived genre is a testament to its quality. "Songcraft" is a word used infrequently today, yet Black Cat, Dark Horse will show that good songs endure. We're proud that Robert and Janet will find some new admirers through this album's release. The Michael Cumming / Stewart Lee film King Rocker made a case for Robert Lloyd-as-losthero; this album furthers that idea and shows a compelling side of Janet's talent and abilities which will be a surprise to her fans and serve as an entry point to exploring her many other compelling projects.

Repress!

More than four years after his previous EP and after having released some remixes and collaborations with Agar Agar, Black Devil Disco Club or the Italian design studio Burro Studio, LeonxLeon comes back with a new EP, passing to the electronic shaker the styles of music listened since the last release.

4 tracks all as different as each other with first Itanewa, where the Parisian producer tries for the first time to give voice, without vocoder, well aware that on a track inspired by South African productions of the 80s, an instrumental version only would not be enough to do justice. It is thus in a kind of invented Esperanto that the lyrics, a call to lightness and simplicity according to the artist, are distilled between synthetic bass, keyboards and other percussions.

On Piano Mondo, we leave rather in the direction of South America with pianos of Bossa inspiration on a bass italo-disco, rises and descents as if we were in Val d'Isere and breaks just long enough to catch its breath.
The idea of Solid Dose is completely different since it was a question of taking the post new-beat dance sound of the beginning of the 90s, with a big blow, hence the title, of the synthetic bass sound "Solid Bass" which will be used in a lot of ways at this period and which is coming back in force nowadays, and to mix it with the Nordic touch of dance music for a soaring, evolving track, with arpegios which cross each other and an acid line which finally makes its appearance here.

The last track is a wink to the well-known movie that gave its name to the whole project: it is indeed Luc Besson's Léon that we are talking about, re-cut on the dialogues of Nathalie Portman and Jean Reno, supported by a simple rhythmic, analogical bass and electronic kick at the service of a dark atmosphere, closing the record at the antipodes of the first track, without ever having left the universe of melodies and percussions that already characterized the previous releases of LeonxLeon.

Mixed Coloured Vinyl

The duo of Parisian DJs and producers, Cléon & Jazzy Pidjay, are back under the name Last Bongo In Paris, with a new 7 inch full of Latin Funk & Jazz Funk atmosphere... With raw drums, heavy breaks and a jazzy flavor, these 3 tracks should quickly become a hit for all groovers and dancefloors!!

Cléon & Jazzy Pidjay have long been united by their love of hip-hop music and culture. DJ Cleon is one of the best French producers of breakdance fight music, also respected as a fine wax seeker, mixing all kinds of music, like disco, funk, soul, jazz, breakbeat, hip -hop and older and newer. recordings.

Alongside his pal Jazzy Pidjay and his great production and mixing skills, they give new dancefloor life to hidden and forgotten musical treasures, through funky uptempo tracks.

Teenage Waitress returns with the new album 'Your Cuckoo'. This album is the follow up to the critically acclaimed debut Love & Chemicals. “Melodies and storytelling. . basically" is how Daniel J. Ash of Southampton’s Teenage Waitress describes his eagerly anticipated second album Your Cuckoo. “It’s a bunch of characters singing songs about love, youth, drugs, boredom and of course, dancing”. ‘Your Cuckoo’ is a leap forward in every way for Teenage Waitress. Ash’s trademark ‘story songs’ are set to a backdrop of irresistible melodies, colourful arrangements and impeccable production. While noticeably a more focused effort than Ash’s previous effort Love & Chemicals, this album still offers a little something for everyone. For the recording of ‘Your Cuckoo’ Ash recruited some of his musical friends to join him in the studio, adding a rich new layer of musicianship to his latest songs. “We basically wanted to go a step ahead from where we got to last time. . and I think we’ve done that” smiles Ash “I’ve been a perfectionist in every sense and annoyed a lot of people to get to this point. I hope it was worth it!

Ruhig verlief die Karriere von Sieges Even nicht. Nach den ersten beiden Alben verzeichneten sie den ersten Besetzungswechsel auf der Sängerposition, auf den Album „Sophisticated“ (1995) und „Uneven“ (1997) betrieben die Holzwarth Brüder (Bass und Drums) die Band weiter.
Doch man fand sich wieder mit Gitarrist Markus Steffen zusammen
und rekrutierte den Ausnahmesänger Arno Menses, der zuvor als Schlagzeuger aktiv war. Mit diesem Line Up eroberte man die Herzen der Progfans, aber auch die von anspruchsvollen Metalheads. Erneut waren Sieges Even zum richtigen Zeitpunkt am richtigen Ort.

„The Art Of Navigating By The Stars“ wurde in dem Black Solaris Studio von Uwe Lulis (heute auch bekannt als Gitarrist von Accept) aufgenommen und erschien bei InsideOut Music, damals im SPV Vertrieb. Es folgten traumhafte Kritiken, auch für die im Anschluss stattfindende Tournee.

Natürlich war 2005 nicht an Vinyl zu denken, so dass diese Wiederveröffentlichung bereits von vielen Fans erwartet wird.
Aber auch die CD ist seit einigen Jahren „out of print“, so dass auch hier Handlungsbedarf bestand. Die Grafiken der Doppel-LP im Gatefold wurde vom Originalkünstler Thomas Ewerhard erstellt und das Audiomaterial getrennt für Vinyl und CD remastert.

Das Konzept rund um „The Art Of Navigating By The Stars“ begeistert heute noch ebenso wie die sowohl vertrackte und harte, aber eben auch gefühlvolle Musik. Hier waren Sieges Even einfach die deutschen Großmeister.

Sieges Even‘s career has not been quiet. After the first two albums, the band had its first change of singer. On the albums „Sophisticated“ (1995) and „Uneven“ (1997), the Holzwarth brothers (bass and drums) kept the band going. But they ended up with the guitarist Markus Steffen and recruited the outstanding singer Arno Menses, who was previously active as a drummer. With this line up, the band has won the hearts of prog fans, but also of demanding metalheads. Once again, Sieges Even was in the right place at the right time.

„The Art Of Navigating By The Stars“ was recorded in the Black Solaris studio by Uwe Lulis (also known today as Accept‘s guitarist) and released by InsideOut Music, then distributed by SPV. This was followed by dream reviews, also for the tour that followed.

Of course, there was no question of releasing a vinyl in 2005, so this reissue is already expected by many fans. But the CD has also been „out of print“ for a few years, so it was also necessary to act in this context. The graphics of the double LP in gatefold were made by the original artist Thomas Ewerhard and the audio material was remastered separately for the vinyl and the CD.

The concept of „The Art Of Navigating By The Stars“ is still exciting today, as is the music, which is both complicated and hard, but also full of emotion. In this sense, Sieges Even were simply the great German masters.

"Come, Sweet Death" wechselt zwischen Brutalität und sich windenden Single-String-Melodien, die einen in die goldenen Zeiten des schwedischen Death Metal zurückversetzen!

Man sagt, dass je mehr sich die Dinge ändern, desto mehr bleiben sie gleich. Wenn es eine Sache gibt, die stabil geblieben ist, obwohl wir im Jahr 2023 leben, dann ist es, dass wir schwedischen Death Metal lieben. Dieser Stil hat sich in den letzten 35 Jahren zu einem unsererFavoriten entwickelt.
Irgendetwas am Gitarrensound macht einfach Lust, jede Veröffentlichung zu verschlingen, die als "inspiriert von frühen Entombed und Dismember" beschrieben werden kann. Das Gute daran ist, dass es eine unglaubliche Fülle von Bands gibt, die aus dieser Quelle schöpfen. Das Schlechte ist, dass dieser Reichtum dazu führt, dass viele Bands nicht mehr zu unterscheiden sind, weil sie sich so sehr ähneln.

Glücklicherweise gelingt es lmperishable mit "Come, Sweet Death", aus der Masse herauszustechen, was nicht zuletzt daran liegt, dass sie sich von den üblichen Merkmalen des Genres lösen. Und in gewisser Weise ist das keine Überraschung, denn die Bandmitglieder waren oder sind an Vampire, Portrait, Nominon und Dr. Living Dead beteiligt! Wie Sie vielleicht schon gemerkt haben, hat die Band vieleEinflüsse aus der Stockholmer Szene, insbesondere von Dismember, was nicht zu leugnen ist

Beatservice are delighted to present the debut album from the irrepressible Norwegian outfit, b0ka, with 13 genre-surfing tracks lovingly presented on the gloriously pop-centric 'Forever, My Friend'.

Friends since as far back as kindergarten, the b0ka players released a selection of highly regarded singles between 2013 and 2016, with their music arriving via prestige imprints including Eskimo, Paper Recordings, Diamond Club, and their own b0ka Recordings. They've since pursued a diverse range of projects, including Lakehouse, OJKOS, Bjørnar Sira and Den Kosmiske Overorden, with their expansive sounds routinely winning admirers throughout the global music community. The pandemic-induced lockdowns allowed the band an opportunity to re-visit long lost b0ka projects: reviewing dusty hard discs before funnelling the best morsels into the Sagrada Jukebox mixtape earlier this year. It was during this journey of sonic rediscovery that the masterfully diverse 'Forever, My Friend' was ushered into existence.

Drawing on all-manner of far-flung influences and brilliantly assembling the components with a pop-ready sophistication, this is spectacular work from b0ka, marking their return to release action in breathtaking style.

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

Glasgow's Work For Love have once again descended deep into the cellars of Thee J Johanz early 90’s DAT recordings and pulled a companion selection to 2017's Declassified EP.

This time they've come back up the ladder clutching a sultry yet sturdy triple-tracker, a little snapshot detailing the full spectrum of house and techno hybridisation that was rife in the rave at the time. The EP kicks off lovingly lamenting the second summer of love with the proto house jam of Tender Tales which features Johanz himself giving his best Sleazy D impression on vox whilst masterfully tickling the 303 to several squelchy climaxes.

Flip over for Desire, a curled-lip 4am weird and wonky warehouse destroying techno leviathan that captures the stark minimalism of yer best Axis records and ads a real touch of John Carpenter esque menace to the affair. Bringing things to a close is the refreshing twinkly pulse of Prophet to say goodnight

French producer Timothee Milton debuts on Local Talk with an EP that fumes of soulfulness in every direction.

Written by Angela Johnson, the original is a big vocal deep house jam that got some hints of the 90s Jersey sound..but not too retro ;).

To give the package an extra edge we enlisted deep house connoisseur Hugo LX and boogie-house maestro Art Of Tones for the remixes, and our boys really delivered the goods.

Hugo's mix is a classy as it gets, supa bumpy deep house where everything little production detail is delivered with good taste.
The Art Of Tones remix is equally strong but goes for a more uplifting approach and puts the funk, boogie and soul front & centre.

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

High Roller Records, reissue 2023, blue jay/ white splatter vinyl, ltd 250, 425gsm heavy cardboard cover with 5mm spine, poster, insert, mastered and partially restored by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2023, black vinyl, ltd 250, 425gsm heavy cardboard cover with 5mm spine, poster, insert, mastered and partially restored by Patrick W. Engel at Temple of Disharmony

Oorsprong is a tube, a line in a forest, a sound sculpture. Acoustics to be revealed. Activated by entering, it becomes a giant flute producing a tone that is so low, the body crashes into waves of pure pressure instead of sound. Untranslatable energy. CERCHI CERCHI by Lukas De Clerck (FKA: Bloedneus & de Snuitkever) is a quest in a forest to find traces of that untranslatable sound, its impact, its imprint, its memory. A hide and seek in which the body is concealed in the instrument, becoming its second voice, hidden but exposed.


I
whistling, organ pipe, voice
A whistle, a whisper, a play of breath. Echoes of a low pulse, colliding into each other.
Party in the background, a coach blows a whistle, a haunting scream echoes the whistling from inside, kids returning from a party.

II
voice, whistling
To give away your voice, a gesture. The initiative for an introduction.
Birds chirping, an F16 piercing through the sky.

III
kaval
A circular breath gently caresses a line of circles, making its surface ringing.
Birds chirping, voices of kids, kids shouting, the door of Oorsprong closes.

IV
oorsprong, two bass recorders
When tuning becomes rhythm, when rhythm becomes a beat of breath. A beat underneath the beating of tones. Feedback of flutes.
The clanging of 2 bass recorders, the ventilator of Oorsprong is turning on.

Parasol Dance' embodies the musical headway and fruition Fabio experienced exploring different soundscapes and rhythms in his London based studio this last year. The crisp analogue cuts in the album are peppered with Monesi's organic evolution from the New Jersey sound drawing inspiration from Jazz, Funk and even Disco, all the while never faltering on the end product of raw undulating grooves.

In a sentence, in 'Parasol Dance' Fabio has dished up a vibrant collection of raw and robust cuts that keep you locked from start to finish and will be no doubt be finding a welcome home in record bags across the globe.

“Are we having fun yet? Living in the grey zone”? The Toads ask the question and already know the answer. There’s many a wry smile, often packed with gallows humour, shared on the Melbourne groups’ debut album “In the Wilderness” (out June 9th on Anti Fade and Upset The Rhythm). Navigating the dross of modern life, whilst keeping one foot in a dream is the key to their nervy post-punk scuffle. Featuring members of The Shifters, The Living Eyes and Parsnip you’d be forgiven for guessing what The Toads sound like, but their mordant step and minor-key enchantment makes for an intriguing parry.
The Toads hatched after a short period of domestic readjustment mid-2021. Billy Gardner (guitar) found himself in need of a roof after his home was consumed by fire, and was kindly hosted by friend Stella Rennex (bass). Elsie Retter (drums) was a regular visitor to the house and after seeing Miles Jansen (vocals) tear it up with his other band at the local bowls club, they invited him along to sprinkle his deadpan musings across their fledgling sound. Pretty quickly they hit on their direction; a savvy, snappy lo-fi pop as openhearted as it is brooding.
After playing some formative shows, including a debut at Jerkfest in 2022, The Toads set about recording five songs mid-year for a tentative EP. Realising the songs were too long to fit on a 7”, they booked in another recording session the following September to extend the EP to 12”. Two tracks’ chords structures were fleshed out with new melodies and arrangements, and by this point The Toads were surprised to find they had an album’s worth of material. ‘In The Wilderness’ is a beguiling record, full of twists and turns. It’s arch, resilient, thoughtful and straight-at-your-head catchy to boot.

It’s fitting that the title track “In The Wilderness” draws this record to a close, being the peak of their invention so far. Drums pound and tumbling bass-lines sprint among the crisply stabbing guitar phrases and soaring horns outro. It’s a survivalist epic of hard-worn wisdom, ambling and restless. “I open up the door trying to get all of us through” sings Miles, becoming progressively more dizzy and despondent. There is a sense of toughing it out that never falters though and this is the essence of what The Toads do best. They push onwards into the darkness and keep their appetite, pulling us all into the light.

Emile Mosseri is an Oscar and GRAMMY nominated artist, earning acclaim for his scores for the films Minari (2021) and The Last Black Man In San Francisco (2019) Recently worked with Kaitlyn Aurelia Smith on the critically acclaimed album, "I Could Be Your Dog / I Could Be Your Moon" (2022). On Heaven Hunters, Mosseri looks inwards, using his distinctive sound and gift for musical storytelling for his most personal work. Produced by The Haxan Cloak, Heaven Hunters explores the weight of choosing one path in life, putting to death every other possible future, and finding comfort in redefining happiness.

For Mosseri, the search for Heaven _ a concept of perpetual happiness void of suffering _ is a fruitless effort that blocks us from finding peace and balance in life as it really is. Driven by Mosseri's poignant lyrics and intimate singing, Heaven Hunters is a celebration of the highs and lows that create that equilibrium, built around songs of longing, love, heartbreak, familial struggle, and domestic bliss. It is a vulnerable, heartfelt album that is both expansive and cinematic in its dynamic scope and deeply stripped down and exposed in its emotional core, ready to be experienced as intimately as possible.

After a ten year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded.

Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK’s post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city’s flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory’s Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers.

Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.

Der langjährige Fates Warning Frontmann Ray Alder kehrt mit seinem zweiten Soloalbum auf InsideOutMusic zurück. Das Album umfasst 9 melodische, aber dennoch modern-schwere neue Songs, die mit Unterstützung der Gitarristen Mike Abdow (Fates Warning Tourmitglied) und Tony Hernando (Lords Of Black) sowie Schlagzeuger Craig Anderson (Ignite, Crescent Shield) entstanden sind. "II" wurde von Simone Mularoni (Rhapsody, Michael Romeo, DGM) abgemischt und ist als limitierte Digipak-CD mit Bonustrack und als LP auf 180gr. Vinyl erhältlich!

Timo Kaukolampi, frontman for Finnish electronic rock group K-X-P and tireless sonic wanderer, is releasing his second solo album, this time on Optimo Music. Exquisitely rendered, shadowy, curiously claustrophobic and even occasionally paranoid, Inside The Sphere is an album wholly deserving of its name.

A sense of paranoia is one of the threads through this glittering, winking electronic maze. Kaukolampi says “I came up with this metaphysical concept of the “sphere”. When you are manipulated you are ‘Inside The Sphere’. It’s like this dome of ‘undue influence’ that you don’t know exists around you. It’s a bit like the inside of a cult.”

Indeed, it’s amazing the effects achieved with a few sparse electronic textures, the odd smattering of studio trickery, and two or three well-placed synthesizer parts. Though the result might sound ostensibly simplistic, Inside The Sphere is an album of reduction rather than addition. The rhythmic and textural scaffolding is based around what’s not there, rather than what is. Take ‘VCS3’. At first listen, it seems forged from a few synth lines and a simple percussion part – so far, so simple. But listen closer, enter the sphere, look behind the mask – notice the slightly detuned drones, the chattering percussive textures, that distant swell of bass, the way the central fugue shifts and mutates somehow statically, like a barber’s pole.

Might we be listening to an album within an album, a more complex song cycle hiding within the folds of an ambient electronic album? This ties in with another of Kaukolampi’s thematic frameworks – that of the mask. He references Oscar Wilde’s quotation that “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”

Inside The Sphere is not a one-note album. For every moment where a clammy ambient space enters, a buttery analogue bassline is there to fill it. This clash seems to be the album’s engine room, its power supply.

Timo references devotional and choir music as an influence on this album. The paranoia and foreboding is tempered by these headier aspects. Kaukolampi mentions “empty and hollow spaces” in relation to several of the songs. Perhaps this is the very space behind the mask, where outward disguise merges with inner reality. Perhaps inside the sphere is not always such a bad place to be.

Hatıralar was Anadol's second album, originally composed between Berlin and Istanbul around 2012 and released years later only in digital form on the Istanbul based label Inverted Spectrum. The title Hatıralar ("Memories") turns out to be a self-fulfilling prophecy. Anadol recalled and revisited the music in 2023, gently editing and mixing the compositions for the newly mastered LP format in which they now see the light of day. Hatıralar represents an early version of the melodic, instrumental synth-pop that Anadol refined on her album Uzun Havalar (2019) before exploring the more free, krautrock-inspired musique concrète of her last album Felicita (2021). Here is the text that accompanied the original 2017 release:

Anadol, named after an old-fashioned Turkish automobile brand, is an instrumental synth-pop project by Gözen Atila, an artist, dj and keyboard player. She records with mini organs manufactured during the 70s and 80s, the built-in rhythms and arpeggios of these machines provide the backbone of her sound, and her melodies are influenced by pop music and soundtracks from France, Italy and Turkey from the same period. The music is awash with allusions to the moods of old Turkish and European cinema, from the erotic to the melodramatic, and with a reminiscence of the sound and spirit of so-called "tavern music" popular in Turkey's urban nightlife in the 1980s, a flexible pop style usually performed by a solo keyboardist-singer. Anadol is a continuation of the tradition of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, and of the keyboardists pushing the boundaries of minimal equipment to entertain middle aged drunk couples in pubs and wedding parties of Istanbul.

Teesy (Künstlername für Toni Mudrack) musste sich immer öfter Zweifeln stellen, hat die Freude am Musikmachen verloren - Doch irgendwann platzt der Knoten und er nimmt die Studioarbeit wieder auf. »Das war ein Gefühl wie früher. Eine Leichtigkeit, die ich sehr lange nicht mehr gespürt habe.« Die neue Motivation zeigt sich nicht nur im Texten, sondern auch in der Musik selbst. Er spielt Drums, Klavier, Gitarren und Bässe selbst ein. Keine Libraries, Loops. Kein Copy'n'Paste. Stattdessen handgemacht von vorne bis hinten, wie aus einem Guss. Eben richtige Songs. Mit Dynamik und Struktur. Keine Zweifel, keine Ängste. Wenig Kopf, stattdessen viel Bauch und noch mehr Herz. Teesy ist eben doch Kein Künstler.

FÜR FANS VON: DEEP PURPLE, STATUS QUO, LYNYRD SKYNYRD, MOLLY HATCHET

Nach neun Jahren Pause sind KICKHUNTER zurück, um wieder besten Kick-Ass Rock’n Roll abzuliefern. Im Jahr 2000 von Gitarrist Stefan Aurel und Schlagzeuger Karsten Kreppert gegründet, hat die in Hamburg ansässige Formation bisher vier Alben veröffentlicht. Mit ihrem Debütalbum "Hearts & Bones" tourten sie 2003 gleich mit DEEP PURPLE und LYNYRD SKYNYRD durch Europa und gewannen viele neue Anhänger. Der international hochgelobte Nachfolger „Little Monsters“ erschien 2007. KICKHUNTER veröffentlichten im Sommer 2010 ihr drittes Meisterwerk „All In“. 2013, kurz bevor sie ihr viertes Album „Southern Kicks“ veröffentlichten, begleiteten sie die US-Southern-Rock-Legende MOLLY HATCHET auf ihrer Deutschlandtour.

Jetzt melden sich KICKHUNTER mit ihrem 5. Album „Now Or Never“ zurück. Produziert von der Band und gemischt und gemastert
von Eike Freese (DEEP PURPLE, EISBRECHER, GAMMA RAY u.a.) und Dennis Ward (PINK CREAM 69, MAGNUM, KYHMERA u.a.). Das Album enthält auch einen Gastauftritt von keinem geringeren als Gründungsmitglied und HELLOWEEN-Bassisten Markus Großkopf! Markus, der durch sein Engagement bei HELLOWEEN zeitlich sehr eingeschränkt ist, kann KICKHUNTER im Moment live leider nicht unterstützen. Für ihn konnten die fünf verbliebenen Originalmitglieder Tim Schwarz (XANDRIA, HARDBONE) als neuen Bassisten gewinnen. Außerdem gibt es mit Gitarrist Gerd Lehmkuhl einen Neuzugang an der Gitarre, der die Triple-Axe-Attack komplettiert!!! Wer nach echter handgemachter Rockmusik mit dreckigen Riffs, kraftvollen Hammond-Sounds und groovigen Drums sucht, der wird KICKHUNTER lieben!!!

"I was asked to remix this pop-rock hit when it came out 10 years ago, I loved the vocal and the idea of giving it a nu-disco flavor so I started working on it but unfortunately, I couldn’t deliver it on time. A few years later I finished the remix and started playing it in my DJ sets, the feedback is always great and I kept getting “track id” requests for it. So we talked about it with Paul Hammer from Savoir Adore, their label kindly agreed to license it to us, and here it is! This is the 20th release for Nano Rec on the 20th year anniversary of the label and after a 10 years break in which I was focused on a number of other musical projects and also amassed a lot of unreleased Spiller music that we’re now gonna bring to light." Spiller

In the KID BE KID superhero universe, the fact that she is not only a singer but also a virtuoso pianist goes without saying. So much talent in one person would hardly be bearable if KID BE KID wasn't, above all, such a lovable funky freak!
"Naked Times! No More Lies! Here I am strippin' straight in front of your eyes," she chants in a futuristic dress with a gigantic shoulder width, and in the video clip she skillfully oscillates between the authenticity of her live performance and the complete unreality of the production.
Musically, it sounds like a finely curated neo-soul record collection pushed through a 2030s cyber-sound AI. Except that with KID BE KID, the beats don't come from the hard drive, but from her body: Human Beat Boxing. So hip-hop community members are welcome to nod their heads here.

In the 10 songs contained on "Truly A Live Goal But No Ice Cream" KID BE KID reflects on our existence between Internet publicity and Home Sweet Home, in which the mere start of the day can become a regular challenge! KID BE KID arms herself against the personified time and gives it an ultimatum: "Don't you dare not be better than last year!". As a result, everything in her life as well as musically finally takes a turn for the better...

KID BE KID has been touring Europe almost non-stop since last summer, has been recording vocals for Netflix ("Rumsspringa") and, in her remaining free time, has been hanging out in the young Berlin jazz and abstract beats scene.
All these influences can now be heard on her fantastic new album, where KID BE KID seems extremely determined to make the world a little bit better with her art:
"We are here for a reason, Move! Be the better Move!", she challenges herself and us in her song "Move" and of course: KID BE KID is a movement we are only too happy to join in 2023.

She has been a celebrated sensation for years for her live performances anyway, so it's no wonder that she is only too happy to make fun of all the boring online productions, including bloated self-marketing in her lyrics: "You'll have to post 5 times a week, at least 5 videos and one pic, if not your audience won't grow".
But since we have all become little self-marketing monsters with the desire for constant virtual pats on the back, KID BE KID directs this criticism primarily at herself: "Of course: For love everybody seeks, But it makes me sick, to do so, too" it also says in the song ("News Feed").

Well, when this album comes out in June, the ice cream parlors should finally be open again in real life. Walking there, with KID BE KID on the AirPods, we make a few jumps of joy! Because, honestly? This is really so incredibly good.

The horses are out of the barn…and it’s time to trot. Introducing Mortar & Pestle: a union between two of Canada’s dance bandits at large. D. Tiffany & Maara come together to bring you pure delicious magic. These tracks are fresh out the skillet and piping hot on your plates. Dip us in maple syrup and throw us to the lezzies!

What do you get when you stir the pot…or grind the pestle? Wet, bubbling, sticky, throbbing bangers that make you lose your mind. Two’s company, but three’s a party. Sweetheart Hannah Karpinski hops in with her provocative Polish vocals, ready to ignite the freak fire and desire in this world and beyond. Unhinged, raw, and chaotic, burning the whole barn down. Enjoy this 4-track offering of hypnotic indulgence. Mortar & Pestle: Pound or be Pounded? Whatever you fancy, you’re in for a treat.

Manuel Sahagun lives in Buenos Aires, Argentina and has a long history in the music industry. He is known for his unique sound signature which have landed him releases on great labels such as Freerange, True Romance, Minor Notes, Lazy Days and more. And this summer he tryst with Fortunea Records, bringing along his new 3-tracker ‚A Daily Noise‘.
The record starts off with ‚Dreams‘. Don’t expect with this title a fluffy, peaceful melancholic tale. This track pushes through the door with warm subs, galloping hi-hats, xylophones and an irresistible crunchy bassline that’ll get stuck in your head for hours and hours. An absolute belter!

The EPs title-track goes on in similar manner. This time built around an eerie pad that lurks from behind and comes more and more forward in the course of time. A sign for danger? Not at all. But an optimistic relief will come along when the climax hits the dancefloor.

Finally we have ‚Hostages‘ on B2. A deep house track which has a beautiful sense of gloom and curiosity to it. Manuel gives more drama to the track by adding abstract digital glitch noises and haunting synths. A substantial treat for the ears.

‚A Daily Noise‘ comes out on the 9th of June 2023. The vinyl is limited to 300 copies. There will be no repress!

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Eine ins Ohr gehende Mischung aus hintergründigem Songwriting, warmem Pop, Soul und einer Prise Americana, und natürlich der einmaligen Stimme von Jenny Lewis, das ist „Joy’All“, das fünfte Solowerk der Künstlerin. Das Vorgängeralbum „On The Line“ (2019) wurde auf der Rolling-Stone-Liste der 100 besten Alben des Jahres geführt.

Die in Las Vegas aufgewachsene Singer-Songwriterin war zuvor schon Bandmitglied bei Rilo Kiley, The Postal Service, Jenny & Johnny und Nice As Fuck, und hat mit Größen wie Beck, Ringo Starr, St. Vincent, Vampire Weekend, She & Him, Brandon Flowers, Bright Eyes, Elvis Costello, Wavves und Bill Murray gearbeitet. Zuvor war sie als junge Schauspielerin in zahlreichen Kinofilmen und TV-Serien zu sehen.

Die erste Single aus dem neuem Album, „Puppy And A Truck“, bekam weltweite Aufmerksamkeit, weil darin niemand geringeres als Harry Styles zu sehen ist, für den Lewis einige Konzerte eröffnete.
Der intime, warme Live-Sound des Albums ist Markenzeichen des achtfachen GRAMMY-Preisträgers und Produzenten Dave Cobb (John Prine, Brandi Carlile, Chris Stapleton, Jason Isbell), mit dem Jenny das Album im legendären RCA Studio A in Nashville aufnahm.

Eine ins Ohr gehende Mischung aus hintergründigem Songwriting, warmem Pop, Soul und einer Prise Americana, und natürlich der einmaligen Stimme von Jenny Lewis, das ist „Joy’All“, das fünfte Solowerk der Künstlerin. Das Vorgängeralbum „On The Line“ (2019) wurde auf der Rolling-Stone-Liste der 100 besten Alben des Jahres geführt.

Die in Las Vegas aufgewachsene Singer-Songwriterin war zuvor schon Bandmitglied bei Rilo Kiley, The Postal Service, Jenny & Johnny und Nice As Fuck, und hat mit Größen wie Beck, Ringo Starr, St. Vincent, Vampire Weekend, She & Him, Brandon Flowers, Bright Eyes, Elvis Costello, Wavves und Bill Murray gearbeitet. Zuvor war sie als junge Schauspielerin in zahlreichen Kinofilmen und TV-Serien zu sehen.

Die erste Single aus dem neuem Album, „Puppy And A Truck“, bekam weltweite Aufmerksamkeit, weil darin niemand geringeres als Harry Styles zu sehen ist, für den Lewis einige Konzerte eröffnete.
Der intime, warme Live-Sound des Albums ist Markenzeichen des achtfachen GRAMMY-Preisträgers und Produzenten Dave Cobb (John Prine, Brandi Carlile, Chris Stapleton, Jason Isbell), mit dem Jenny das Album im legendären RCA Studio A in Nashville aufnahm.

EXTREME return in 2023 with their brand new studio album “SIX”. The multi-million selling hard rockers present 12 tracks ranging from funk-tinged bangers to soaring ballads as only EXTREME can deliver. Spearheaded by the songwriting team of vocalist Gary Cherone and guitarist Nuno Bettencourt (who blessed the world with chart toppers like “More Than Words” and “Hole Hearted”), “SIX“ is an essential addition to EXTREME’s discography. The album opener and first single “RISE” will immediately fire up legions of anxious fans with its signature riff. Elsewhere, “OTHER SIDE OF THE RAINBOW” showcases EXTREME’s gift for passionate acoustic magic. EXTREME are back with “SIX“ – everything the fans have been waiting for. Formats; CD, 2LP Black, 2LP Ltd Transparent, 2LP Ltd Red & Black Marble.

EXTREME return in 2023 with their brand new studio album “SIX”. The multi-million selling hard rockers present 12 tracks ranging from funk-tinged bangers to soaring ballads as only EXTREME can deliver. Spearheaded by the songwriting team of vocalist Gary Cherone and guitarist Nuno Bettencourt (who blessed the world with chart toppers like “More Than Words” and “Hole Hearted”), “SIX“ is an essential addition to EXTREME’s discography. The album opener and first single “RISE” will immediately fire up legions of anxious fans with its signature riff. Elsewhere, “OTHER SIDE OF THE RAINBOW” showcases EXTREME’s gift for passionate acoustic magic. EXTREME are back with “SIX“ – everything the fans have been waiting for. Formats; CD, 2LP Black, 2LP Ltd Transparent, 2LP Ltd Red & Black Marble.

»Ced Gee X Kool Keith«, beide Mitglieder der legendären Ultramagnetic MC's, haben sich für eine neue Ultramagnetic MC's-Platte zusammengefunden. Das Wiederaufleben des klassischen Hip-Hop wird im Jahr 2022 mit der neuen Veröffentlichung von Ultramagnetic MC's »Kool Keith x Ced Gee« fortgesetzt Die Ultramagnetics Kool Keith, Ced Gee und DJ Moe Love, die Mitte der 80er Jahre in der Boogie Down Bronx als weit verstreutes Hip-Hop-Trio mit einem Haufen neuer Ideen auftraten, nehmen so etwas wie einen einzigartigen Platz im Pantheon der alten Schule ein.

Die Ultramagnetic MCs kombinieren funkige Songs mit rockigen Beats und obskuren lyrischen Anspielungen und können auf eine Reihe von Premieren verweisen: Sie waren die erste Rap-Gruppe, die einen Sampler als Instrument einsetzte, die erste, die ausgiebig mit Live-Instrumenten arbeitete und die erste, die einen ehemaligen Psychiatriepatienten (Kool Keith) am Mikrofon hatte.

Frühe Singles wie »Something Else« und »Space Groove« wurden zum festen Bestandteil von Blockpartys und schlugen Wellen im Underground, so dass die Gruppe schließlich bei dem von Disco dominierten Label Next Plateau landete, wo sie ihr unterschätztes Debüt veröffentlichte. In den folgenden Jahren wechselte die Gruppe von Label zu Label und veröffentlichte Alben auf Mercury und Wild Pitch, bevor sie sich trennte, um verschiedene Projekte zu verfolgen. Bei dieser besonderen Veranstaltung werden Kool Keith und Ced Gee klassische Ultramagnetic MCs-Songs vortragen und Geschichten über die Entstehung ihres ikonoklastischen Katalogs erzählen.

Black + White Haze Vinyl. With a sound that was swampy, primal and modern-urban all at once_as much in the tradition of rock n' roll and punk rock as it was a rejection of those things, the Scientists' formula was as universal as it was specific to their own experience. The themes of getting wasted, driving around in hotted-up cars, being trapped in crap jobs, and paranoia were their subject matter. Machine throb bass and drums with jagged car-wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures to create a sound all their own. Quadruple CD includes their complete studio recordings, live recordings, and a previously unissued set from Adelaide UniBar, plus dozens of previously unpublished photographs, discography, and fold out Perth Punk family tree. Double LP version boils the box down to 22 essentials, plus unpublished photographs, discography, and fold out Perth Punk family tree.




















t 20 THIS IS MY HAPPY HOUR LIVE AT ADELAIDE UNIBAR
u 21 FIRE ESCAPE [LIVE AT ADELAIDE UNIBAR]
[v] 22 WHEN WORLDS COLLIDE [LIVE AT ADELAIDE UNIBAR]
[w] 23 RAVER [LIVE AT ADELAIDE UNIBAR]
[x] 24 THE SPIN [LIVE AT ADELAIDE UNIBAR]
[y] 25 CLEAR SPOT [LIVE AT ADELAIDE UNIBAR]
[z] 26 REV HEAD [LIVE AT ADELAIDE UNIBAR]
[xa] 27 SET IT ON FIRE [LIVE AT ADELAIDE UNIBAR]
[xb] 28 BURN OUT [LIVE AT ADELAIDE UNIBAR]
[xc] 29 THIS LIFE OF YOURS [LIVE AT ADELAIDE UNIBAR]
[xd] 30 SOLID GOLD HELL [LIVE AT ADELAIDE UNIBAR]
[xe] 31 BLOOD RED RIVER [LIVE AT ADELAIDE UNIBAR]
[xf] 32 DON'T LIE TO ME [LIVE AT THE LOFT]

[xh] 34 MELODRAMATIC TOUCH [LIVE AT STOREY HALL]
[xi] 35 SLOW DEATH [LIVE AT STOREY HALL]
[xj] 36 STRANGERS IN THE NIGHT [LIVE AT THE SYDNEY UNI]
[xk] 37 I'VE HAD IT [LIVE AT LE TOTE]
[xl] 38 GONNA MAKE YOU [LIVE AT THE PRINCE OF WALES HOTEL]
[xm] 39 WHEN WORLDS COLLIDE [LIVE AT SYDNEY TRADE UNION CLUB]
[xn] 40 GHOST TRAIN [LIVE AT THE PRINCE OF WALES HOTEL]
[xo] 41 THE OTHER PLACE [1985 FLEXI DISC]
[xp] 42 SHE CRACKED [1985 FLEXI DISC]

Erstauflage auf farbigem "Red & Blue" Vinyl. Jubiläums-Edition zum 30. Jahrestag des Debütalbums von Six Finger Satellite, The Pigeon Is the Most Popular Bird, mit einer brandneuen, vollständig remasterten CD und einer Doppel-LP-Neuauflage. Die 1990 in Providence, Rhode Island, von J. Ryan (Sänger/Keyboard), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gebildeten Six Finger Satellite wurden für die Weapon EP schnell von Sub Pop unter Vertrag genommen. Nach Weapon machte sich die Band daran, ihr Debütalbum mit Bob Weston (von Shellac, die später eine Single The Bird Is the Most Popular Finger zu Ehren von Six Finger Satellite benannten) zu produzieren. Das 1993 veröffentlichte The Pigeon Is the Most Popular Bird war die erste Veröffentlichung, die den abenteuerlichen, bissigen Geist und Sound von Six Finger Satellite wirklich einfing. Das Album ist ein Meilenstein des lauten, beunruhigenden Post-Punk, mit Einflüssen von Gang of Four, The Birthday Party und Wire, aber auch mit einer gesunden Dosis der eigenen, einzigartigen Klangfeindlichkeit der Band. Zwischen den spröden Rocktracks finden sich auf The Pigeon Is the Most Popular Bird einige Keyboard- und Studioexperimente, die auf den späteren Alben der Band stärker hervortraten und LCD Soundsystem, DFA Records und einen Großteil des Post-Punk-Revivals der frühen 2000er Jahre vorwegnahmen. Pitchfork bezeichnete The Pigeon Is the Most Popular Bird zu Recht als "eine der besten Noise-Rock-Platten der 90er Jahre" und schrieb, dass "die Übergänge von albern zu bissig den unvorhersehbaren und ätzenden Ansatz von Six Finger Satellite hervorheben - dies war das erste von mehreren Beispielen dafür, wie sie Underground-Trends verschmähten, und ihre aufregendste bittere Pille, die es zu schlucken galt".

`Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point _ his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's `My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understanding", Holley is able to make a profound point as ever in far fewer phrases: "The deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's." Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.

Mit Hits wie “Rock Around The Clock” , “See You Later Alligator”, “Shake Rattle And Roll” hat sich Bill Haley in die Geschichtsbücher des Rock’n’Roll geschrieben.

Für alle Vinylliebhaber gibt es ab sofort eine Zusammenstellung mit allen Hits der Rock’n’Roll Legende.

With hits like „Rock Around The Clock“, „See You Later Alligator“, „Shake Rattle And Roll“, Bill Haley made his mark in the annals of rock‘n‘roll. „See You Later Alligator“, „Shake Rattle And Roll“, Bill Haley has made his mark in the records of rock‘n‘roll.

For all vinyl lovers, a compilation with all the hits by the rock‘n‘roll legend is now available.

Nachdem seine intime Underplay-Show-Tour „SHHH“ im März binnen Sekunden ausverkauft war, kündigt Archy Marshall sein mittlerweile viertes Studioalbum „Space Heavy“ als King Krule an. Erscheinen wird es am 9. Juni bei XL Recordings. Zehn Jahre nach der Veröffentlichung seines umjubelten Debütalbums „6 Feet Beneath the Moon“ zeigen die 15 neuen Songs den britischen Songwriter auf der Höhe seines Schaffens.



Entstanden ist das Album zwischen 2020 und 2022, als Archy Marshall sowohl London als auch Liverpool seine Heimat nannte und viel Zeit auf den Reisen von einem zum anderen Ort verbrachte. Während diesen Trips entstand seine Faszination für „the space between“, wie er es nennt: die Orte, die von Träumen voller Liebe verfolgt werden, während sich Archy in seinen Texten mit persönlichen Verlusten befasst. Nachdem die Texte fertig waren, entstand die Musik gemeinsam mit dem Produzenten Dilip Harris sowie seiner langjährigen Band, bestehend aus Ignacio Salvadores (Saxophone), George Bass (Schlagzeug), James Wilson (Bass) und Jack Towell (Gitarre).



In den 15 Songs von „Space Heavy“ verbinden sich viele Elemente seiner bisherigen Karriere mit dem klanglichen Kosmos, der ihm das Attribut als eine der Stimmen seiner Generation einbrachte. Die dichten Lyrics seines Debüts, die Verschiebung seines Sounds bei „The OOZ“ (2017), die Ursprünglichkeit von „Man Alive!“ und die rohe Verletzlichkeit, die er auf „You Heat Me Up, You Cool Me Down“ zeigte, fließen in den Sound seines neuen Albums ein.



Mit der Albumankündigung erscheint die erste Single „Seaforth“ mitsamt Video, bei dem seine regelmäßige Kollaborateurin und Visual Artist Jocelyn Anquetil Regie geführt hat.

A sonic love letter to Italy’s 2023 Capital of Culture, Brescia-Bergamo. Harnessing a creativity and energy without genre, boundaries or filters, Rebirth blends together independent musical paths, which were valid but otherwise fragmented, into a collective and identity project called 'Brixia Sonora' - a tribute to the Brescian music scene in its many facets and declinations.

An image of a city and its atmosphere. A photograph that may be imperfect, potentially blurry, yet alive and authentic. Pulsating. Incorporating multiple inspirations and influences: noise, minimalism, breaking the mold; weaves and beats, polyrhythm and polymetry, glitch music and organic music; and yet electronic fractals, jazz effusions, house beats, Balearic sunsets, post-metropolitan downtempo, other forms of rock. A cocktail of hybridizations that, under the direction of Rebirth, finds a balance on the edge of the unexpected, despite its diversity, infinite facets, and multiple identities.

Exploring the musical landscapes of the protagonists: Giovanni Battagliola, Paolo Cattaneo, Chris Benoit, Eke, Luca Formentini, Kick, Alessandro Pedretti, Corrado Saija e Giorgio Presti, Maniscalco, Materie, Matteo Gamba, Mattia Fontana. Solo projects, bands, collectives, DJs, and producers - a crossroads of generations and multitudes within which everyone has carved out their own space. 'Brixia Sonora' symbolizes a period of dialogue and exchange - from exchanging ideas to sharing passions, syncopated beats and new impulses, leading to the evolution of what is yet to come.

You heard them first on Brown Acid “The Thirteenth Trip”. We are very excited to present to you the full unreleased recordings from this amazing band from Detroit. Master Danse was formed in late 1973 in Detroit, Michigan when drummer Tom Riss and bassist Cary Fletcher, formerly of the Detroit band Licking Stick, went looking for a new guitarist/lead vocalist and jammed with John Giaier, who had most recently played in the band Crawdad. The three musicians hit it off immediately, and a new power hard rock trio was born. In 1973, Detroit was clearly “Rock City”, featuring such local icons as Bob Seger, Alice Cooper, Grand Funk Railroad, Ted Nugent, and Mitch Ryder, and the high energy punch of Master Danse reflected this proud heritage. Unfortunately, this union would only last one year, and by the end of 1974 the power rock trio known as Master Danse had disbanded. What was left for posterity were only two live reel to reel recordings and one promo 45 single. Some forty-seven years later, the 45 found its way onto the internet and a small cult following of audiophiles was born, people who appreciate the raw power and high energy of early ‘70s rock. Bands like Master Danse and others from this era were riding the wave of transition from the pop rock sound of the ‘60s to an edgier sound that would eventually lead to metal and punk music. With the help of modern-day tape restoration techniques, the two live recordings were restored, and together with the 45, the best versions of the eight songs that have survived the decades are featured on this album. Although recorded live forty-eight years ago on a two-track stereo tape recorder, you can still feel the power of Giaier’s Marshall stack, Fletcher’s twin Acoustic 360 amps, and the relentless attack of Riss’ Ludwig drums. So, sit back and enjoy. Rock on!

Two stone cold classics right here from the Roy Ayers masterminded RAMP, taken from the holy grail album Come Into Knowledge. Sampled the world over, influentially positive and as prized as they get, South Street’s new sub-label South Street Soul couldn’t have picked a more perfect double header to reissue as their inaugural release.

Although the RAMP acronym Roy Ayers Music Productions bared Ayers’ name, he did not perform with the Ohio band instead writing, arranging and producing the tracks alongside Edwin Birdsong and also William Allen. Drafting in some of the best session musicians in the game, from vocalists Sibel Thrasher and Sharon Matthews, The Spinners drummer John Manuel, guitarist Landy Shores and Cincinnati bass maestro Nate White, the result was pure ethereal excellence.

Rare groove at its finest ‘Daylight’ is one of the standout cuts from RAMP’s only album - soulful, sumptuous and laced with a celestial touch that takes this track to another realm of conscious. A track that was famously sampled by A Tribe Called Quest for their hit ‘Bonita Applebum’ and J Dilla’s remix of Common – Come Close.

On the B side, a Roy Ayer’s masterpiece 'Everybody Loves The Sunshine' given the RAMP revamp, an end of the night masterpiece, a hazed-out dreamer - just downright blissful grooves from start to finish. Ready-made to ride out into the sunset with.

Repress!

Classic set of Lloyd Coxsone produced tracks by Fred Locks & The Creation Stepper. Heavy late 70s roots hammered by the likes of Coxsone and Shaka in their heyday.

Albert’s Favourites label founder Scrimshire is set to release bold new album 'Paroxysm'. In the last few weeks of October 2022, Scrimshire wrote a new collection of songs with the descriptive working title "Scream". A direct response to the absurdity of the breakdown in the UK government, the horror of the treatment of refugees arriving on our shores and the callous disregard for the trauma being caused to low-income people or anyone considered "other". While self-preserving Conservative MPs fought for their jobs, record profits were announced by energy companies as they were gouging crippling amounts of money from people's pockets. The anger, sadness, mourning, and frustration he felt was poured into these recordings.

Originally named “Scream 8”, ‘Unity Gain’ was one of the early outpourings from those sessions. Piano and drums bubble up until it fully boils over with huge stabbing synthesiser and string sounds in an outburst of frenetic energy. "Division seems to characterise our daily experience”, says Scrimshire. “How does a society stop the callousness and corruption from seeping into its bones?".

Singer Faye Houston features on both ‘Eyes Shut’ as well as, alongside saxophonist, composer, and multi-wind instrumentalist Tamar Osborn, on ‘Flames’. About the latter Scrimshire explains, “One person can breathe fire into your life and the world, leaving an indelible mark. The album was influenced hugely by a friend we sadly have lost. I think of it like the heat you still feel after a fire has gone out”.

London-based poet and emcee The Repeat Beat Poet captures moments of time, thought, and feeling on ‘What Is The State Of Our State’, a furious yet succinct stream-of-consciousness diatribe in two parts. From afrobeat and reggae-influenced London band Soothsayers, clarinetist and saxophonist Idris Rahman features on ‘Your Invasion Is A Lie’, an ever-progressing, cosmic-jazz track.

The elegiac ‘Unforgotten, Unforgiven’ features saxophonist Nat Birchall, on which Scrimshire says "This is dedicated to the politicians who have forced refugees into life-threatening decisions. Pushing people into the hands of traffickers, into small boats and too many beneath the waves of our seas. Who force the lives of men, women, and children into more danger, in the hope of escaping war, poverty and persecution only to meet more cruelty and persecution. It won't be forgotten, and it won't be forgiven".

Scrimshire’s last album, 2021’s 'Nothing Feels Like Everything', received an Album of the Year nomination at the Gilles Peterson Worldwide Awards and last March he was named by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). Albert’s Favourites was formed by Adam, Dave Koor, and Jonny Drop, who designed the logo and artwork, and has released records by The Expansions, Hector Plimmer, Huw Marc Bennett, Pie Eye Collective, Qwalia, Ronin Arkestra.


Early support from Huey Morgan, Amazing Radio specialist playlist, Gideon Coe. Previous support from Gilles Peterson, Mary Anne Hobbs, Jamz Supernova

The highly esteemed, A7 Edits lines up Volume 6 in their much sought after, official edits series. Four feel good dancefloor re-works of obscure Afro-disco gems, plucked from the extensive Africa Seven vaults.

Opening up the EP, John Talabot & Pional take on Cameroon’s Ekambi Brillant giving a deep electronic twist to ‘Afrika Afrika’ before Ghana’s Gyedu Blay Ambolley gets his disco funk heater ‘Highlife’ re-edited by Alan Dixon.

On the B, another double dose of Cameroonian cuts, as Jacques Renault breathes new life into the jazz funk joint from Michael Amara - New Bell and Pasteur Lappe’s standout hit ‘Na Real Sekele Fo Ya’ gets a housed up edit from Escapade.