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MEDWAY GARAGE UPSTARTS! 2nd LP! The Shadracks are a three-piece rock n’ roll group hailing from Medway, Kent. With timeless and expert precision the Shadracks play from 37.3 years in the past 33.7 years into the future. The actual origins of the group date back even further with their cultural appropriation of Babylonian 'Rhythm and Punk. A mere 3 years ago Huddie Shadrack and Elisa Abednego had a brief encounter in deserted parkland. Discovering sheared an interest in vacant park benches, herbaceous borders and beat music it became paramount that they form a group - and quickly. After the release of there self titled debut LP, a subsequent live BBC 6Music session for Marc Riley and a fast selling EP, Elle Meshack retired from The Shadracks to peruse a career as a Poly Styrene impersonator aboard a Tahitian cruise liner: SS Honolulu Baby. Fortunately for the bass bereft Shadracks an advert placed in the window of a local stationers was answered by a certain Rhys ‘King Nebuchadnezzar’ Webb. A meeting issued and after proclaiming "Oh merciful Marduck, may the house that I have built endure forever” Their followed a two-hour induction ceremony (in which to learn all the new tracks for their forthcoming long player From Human Like Forms and Webb, for it was he, was sworn into The Shadracks fraternity. From Human Like Forms sees The Shadracks achieving giddy new heights in their song writing and performing abilities - pushing their ancient sound 3.7 years ahead of the current lunar time module. Councillor Duxbury. 2021

Limited edition 180g audiophile pressing of this recording by Lester Young
Quartet featuring legendary pianists John Lewis and Hank Jones.
Dating from 1949-51, the sessions included on this LP were taped in a quartet
format showcasing the leader with a piano-bass-drums rhythm section. The
dates featured the outstanding pianists Hank Jones and John Lewis, as well as
Lester’s friend from the early Basie years, drummer Jo Jones.
By the time these sessions were recorded, Prez (Lester Young) was working
at Birdland with this exact group (Lewis on piano, Gene Ramey on bass, and
Jones on drums), as attested by several surviving broadcasts.

LTD. BLUE SEAGLASS WAVE TRANSLUCENT VINYL

Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." Dorian Lynskey May 2021

Latin-infused Hip-Hop project by The Breed and Richard Holzmann feat. FLKS, Cy Leo, Kid Taro, Phlocalyst and Franz. Cover photo by the legendary Estevan Oriol (Netflix / LA Originals)

It all started in 2020 when producer The Breed and guitarist Richard Holzmann decided to start their own project called PAPI CHURRO. The two german musicians came up with a unique combination of latin-folk and HipHop Sounds. Almost like a Lo-Fi Beat version of guys like João Gilberto or Carlos Jobim. But also the typical Mexican sounds of Druglord Movies like „Narcos“ are part of their soundcollage. In very short time PAPI CHURRO gained a fanbase and millions of streams on the net. Since all the instruments are played live the songs are not your average Samplebeat but come with some more complex arrangements. But still producer The Breed clearly references those „Chops and Breaks Roots“ on the songs.

Now it’s time for their first full-length LP. El Clásico features all of their recently released tunes but also comes with a bunch of new material. It features a lot of talented guest musicians. Blue-note artists Phlocalyst on some trumpet parts, Harmonica world champion Cy Leo from Hongkong. Lo-Fi producer Kid Taro and Bassplayer and producer FLKS appear throughout the record.

Susanna is now releasing a live album of covers with a unique history. Recorded in Oslo and Asker (Norway) in 2019 and 2020
right before the pandemic hit, Live by Susanna and David Wallumrød is a collaboration by the Norwegian and her cousin David, also a prolific musician, whose seeds were unknowingly sown over 20 years ago.“We played a lot together in our childhood and youth, being cousins, growing up in the same small town Kongsberg,” says Susanna. After being highly active musicians for many years, they decided to do a concert together in 2017, at a tiny cocktail-bar concert series in Oslo. It was so much fun they decided to do some more shows. They did, and out of this came Live. The songs on Live are the same covers Susanna and David played together 20 years ago, with a few new additions. They are instantly recognisable classics by Leonard Cohen, Joni Mitchell, Emmylou Harris and Tom
Waits, played in the way Susanna and David know best - voice and keys. Pure, simple, and stunning. David Wallumrød is one of Norway’s most used piano/keyboard-players, he has participated on over 150 albums and been a regular member in the bands of artists like Knut Reiersrud, Odd Nordstoga, Jonas Alaska, Band of Gold and Torun Eriksen. He has his own band called Spirit in the Dark. Susanna is the woman behind Susanna and the Magical Orchestra, a creator of bold, original and enrapturing music, capable of
building worlds to lose yourself in and collaborator with artists such as Jenny Hval and Bonnie ‘Prince’ Billy. Alongside this Susanna has also long been an interpreter of other people’s works, from AC/DC to Dolly Parton, Joy Division to Henry Purcell. Susanna has an ability to transform these works into music that sits comfortably next to her own work while never losing what made the original - and the original composer of the song - so special.

Introducing Oslo’s next big exports, Veps. Open The Door is an introduction to their nineties tinged, pop rock and out September 3rd on Kanine Records.

Hailing from the eastside of Norway’s capital, Veps have known each other since elementary school and began playing music together in middle school, aged 14. Although growing up with very different influences, the girls had a common sense as outsiders and while making a short film together decided to make an impromptu band. With Helena, Laura and June already accomplished at their instruments, Maja was assigned as drummer, she had never touched a drum set before, and Veps was born. Already causing a stir playing a series of DIY shows wherever they could, the band self-released Do I Hear A Maybe? and Funny Things.

Equipped with their stunning debut EP which showcases songwriting beyond their youthful years, Veps signed to New York label Kanine Records, planting them firmly as one of the most exciting bands to watch.

RAWAX proudly welcomes Giuliano Lomonte to the artist family!
We are very happy to present you the Point Of View - Boss on our RWX series!

Expansion Records and PIR have got together for a series of souvenir 7” single releases to celebrate the 40th Anniversary of the iconic green label. There will be 500 pressed of each. Profile is huge around the PIR around the anniversary with PIR’s Kenny Gamble interviewed on Radio 2, Jazz FM, Smooth FM and in The Telegraph, Mojo, Blues & Soul and Manifesto. There’s also a “Philly 40” film being uploaded to social networks featuring interviews with Kenny Gamble and Tom Moulton around a series of commemorative releases. The 7” series focuses on the label’s most currently in vogue dance floor records and includes one previously unissued recording by The Jones Girls taken from the company’s Philadelphia vaults. Special PIR 40 logo and design will utilised for the label and 7” range sleeve for this collectors series. More to follow.

The 10th anniversary of a milestone in the history of LCD Soundsystem will arrive August 6, when DFA Records partners with Parlophone / Warner Music to celebrate The Long Goodbye: LCD Soundsystem Live At Madison Square Garden; a 5-LP vinyl unabridged recording of LCD Soundsystem’s near four-hour April 2, 2011 show at New York’s Madison Square Garden, and released on 3CD for the very first time.

Produced and mixed by LCD founder and frontman James Murphy, The Long Goodbye is the ultimate audio document of LCD Soundsystem’s legendary — if not quite final — sold-out Madison Square Garden performance.

The Long Goodbye show was the lengthiest, most career-spanning LCD Soundsystem has played to date. The album finds the LCD core live band of Murphy, Pat Mahoney, Nancy Whang, Al Doyle, Gavilán Rayna Russom and Tyler Pope joined by a choir, string and horn sections — plus special guest performances including Win Butler and Regine Chassagne of Arcade Fire, Reggie Watts, the Juan MacLean, Shit Robot, Planningtorock, and Shannon Funchess of Light Asylum.

There has always been a Reggae inuence in the music of El Michels Affair. From their cover of "Hung Up On My Baby" done in a Reggae style, to the general sound and approach that permeates Leon's production style. While recording Bailey's 2020 Ekundayo album, they did some straight forward reggae tunes inspired by different eras alongside some modern R&B tracks that would t more comfortably next to Frank Ocean than Jacob Miller. It is this same notion that old and new can live so comfortably together that birthed the idea of Ekundayo Inversions. Traditional dub came out of reggae in the late 60s and early 70s when pioneers like King Tubby and Lee Perry started taking the multi track recordings of songs and running them back through the board adding effects and additional instrumentation. These recordings are called "dubs" or "versions" and are typically instrumentals with ourishes of vocals from the original tracks. El Michels decided to use the blueprints left behind and make something using the inuences of today. He wound up straying so far from the traditional format that it didn't seem right to use the word `Dub', hence Ekundayo Inversions. All the songs are tied together by WhatsApp messages between Leon and Liam that perfectly narrate the story of this record and their working relationship. One of the highlights on Ekundayo Inversions is a guest appearance from the legendary Lee "Scratch" Perry on the "Ugly Truth" version. L$P switches between singing and talking, proclaiming his powers one minute and playing with the track's title the next. On "Awkward take. 2" Leon takes one of the most experimental songs from Ekundayo and actually straightens it out. A track that once seemed to be oating in space has now been anchored by the addition of drums and bass. "Faded", a version of "Paper Tiger", is given the full EMA treatment with the addition of emotive horns over an uncomfortably sparse rhythm track peppered with Liam's voice drenched in delay and echo. "Champions" features a verse from Black Thought of The Roots and halfway through, El Michels sends the rhythm section 50 years back. At the end of the day, Ekundayo Inversions is a testament to how strong the original songs are. Whether they're in a R&B style, reggae style, stripped down to their bare bones, or loaded with production, the songs will move you.

Calypso developed into its modern form in Trinidad around the turn of the twentieth century as a primarily English-language topical song associated with pre-Lenten Carnival. By the 1920s, Calypsonians, as the singers and composers were called, performed in “tents” (yards covered by a tarp, union halls, and such) for the people of Trinidad and for tourists. As early as the 1930s, the genre was gaining a following outside of its homeland ; for example the British writer Aldous Huxley visited a tent in 1933 and wrote with admiration about calypso singing : “ The Calypsonians of Trinidad live in another ‘Zeit’; so the ‘Geist’ they obey is not the same as ours. In that, it may be, they are fortunate.

Frankenstein Girls Will Seem Strangely Sexy is the second album by the electropunk band Mindless Self Indulgence. The album contains 30 songs, all of which are ranked by their title, including “Bitches”, “Dicks Are For My Friends”, “Holy Shit” and “Royally Fucked”. Industrial madness mixed with hip hop and electronic rock (or, as the band like to call it: industrial jungle pussy punk) packed with crazy lyrics sang by falsetto singer Jimmy Urine. It’s a fascinating record where you’ll discover something new every time you listen to it.

Frankenstein Girls Will Seem Strangely Sexy is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl.

Release Me 2 is a new collection of ten previously unreleased studio performances from the legendary Barbra Streisand, spanning 1962 to 2014. The album showcases exquisite songs and sublime studio performances recorded over the course of Barbra's astounding career, but shelved for various reasons. In her notes for the album, Barbra says, "For me, the studio is a combination musical playground and laboratory…a private sanctuary, where the possibility of catching lightning in a bottle always exists. Whenever that kind of magic happens, it's extremely satisfying. Sometimes though, when the arrangement doesn't quite gel or the song no longer fits the tone of the album it was meant for, the tapes go into the vault for safekeeping. Working on this 2nd volume of Release Me has been a lovely walk down memory lane…a chance to revisit, and in some cases, add a finishing instrumental touch to songs that still resonate for me in meaningful ways.

Release Me 2 features songs penned by celebrated writers and tunesmiths including Burt Bacharach and Hal David, Barry Gibb, Randy Newman, Michel Legrand/Alan Bergman/Marilyn Bergman, Harold Arlen and "Yip" Harburg, Carole King, Steve Dorff, Paul Williams/Kenny Ascher, and Walter Afanasieff/John Bettis.

Widely recognized as an icon in multiple entertainment fields, Barbra Streisand has attained unprecedented achievements as a recording artist, actor, director, producer, screenwriter, author, songwriter and concert performer. Streisand has been awarded two Oscars, five Emmys, ten Grammys including the Legend Award and the Lifetime Achievement Award, a Tony Award, eleven Golden Globes including the Cecil B. DeMille Award, three Peabodys, and the Director's Guild Award for her concert special -- the only artist to receive honours in all of those areas.

Hamburg's very own Christoph Kähler a.k.a. Zwanie Jonson has many names. He is, depending on your perspective, theee eternal drummer, who has toured with legions of seminal German bands of all genres, he is just as well theee eternal underdog, for whose solo debut album "It's Zwanietime" infamous DJ Koze invented his very first label Hoobert in 2007 - out of pure love and just to be able to release it. (Koze taken with it: "The sweetness and kindness that runs through all the songs makes you think Zwanie is on the verge of his enlightenment."). He's been called a fake Swede, JJ Cale from the Waterkant, taller than Jesus (sic!), but above all he's the man who makes Hamburg look like a sweet spot at the end of Laurel Canyon, Los Angeles.

In summer 2011, Zwanie's second album "I'm A Sunshine" was released by Staatsakt. The album track "Golden Song" became a late radio hit in 2015 through its use in the film "Victoria". In 2017 he released "Eleven Songs For A Girl", also on Staatsakt, and now his fourth album "We Like It" is scheduled for early august on Fun In The Church. Recorded virtually alone, just like any of Zwanie's

The Surprise Package recorded the album "Free Up" with Lee Hazlewood, featuring heavy fuzz guitar, rock organ, keyboard bass (like The Doors) and a fifteen-minute title track. Despite touring with the Beach Boys or Led Zeppelin, success did not knock their door_ Munster Records is proud to present the second installment of the Lee Hazlewood Industries (LHI) Records Reissues Series with the first ever reissue of The Surprise Package, "Free Up". Born out of the fertile 1960s music scene of the Pacific Northwest, The Surprise Package was comprised of members from The Viceroys and The Galaxies. These two bands were regulars at regional teen fairs and often played alongside The Sonics and The Wailers. After a record deal with Columbia Records and Terry Melcher fell through, the group found themselves in the waiting room of LHI headquarters for an audition with Lee Hazlewood. Lee liked what he heard and the band was signed. In the late 1960s, Lee went on a creative tangent into the world of psychedelia, releasing far-out tracks from Ann-Margret, The Aggregation, Hamilton Streetcar and many others. The Surprise Package recorded the album "Free Up" with Lee, featuring heavy fuzz guitar, rock organ, keyboard bass (like The Doors) and a fifteen-minute title track. Though Lee was always willing to experiment in the studio and explore many different genres, psychedelia wasn't totally his bag. He spent a lot of the sessions in the control room drinking scotch. "I can give you a quote from Merle Haggard," joked Surprise Package singer Rob Lowery. "He was sitting in on one of our sessions once and he said 'You know, I don't understand this rock 'n' roll bullshit!' I don't think Lee understood it either, but he liked it and he was behind us." A stadium show with Led Zeppelin, extensive touring with the Beach Boys and other national acts failed to bring success. The band parted ways with Lee and LHI, changed their name to American Eagle and put one final record out on Decca. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the reissue is complimented by a new Q&A interview with Surprise Package member Rob Lowery and GRAMMYr-nominated reissue producer Hunter Lea.

Repressed and available again - black vinyl.

Epic tracks like D.O.A., Slumlord, Unknown and Smash The State lash out at the listener with incredible power and drive. This album influenced fans and musicians from around the world including: NOFX, Nirvana, Green Day, Jello Biafra, Henry Rollins, Red Hot Chilli Peppers and Rancid.

Multi-platinum rock band STAIND are back with their first album in nine years, Live: It’s Been Awhile, May 7 via Yap’em / Alchemy Recordings. The band is comprised of lead vocalist and rhythm guitarist Aaron Lewis, lead guitarist Mike Mushok, bassist and backing vocalist Johnny April, and drummer Sal Giancarelli. Over the course of their career, the band has released seven studio albums and eight Top 10 singles, selling over 15 million albums worldwide. Break The Cycle, released in 2001 and RIAA certified 5x platinum, featured the smash single, “It’s Been Awhile,” one of the most played songs in modern rock radio history, spending 20 weeks at Number 1. In 2019 after a five-year hiatus, STAIND reunited for some unforgettable festival performances, and a hometown reunion show at Foxwoods Casino in Mashantucket, CT where their upcoming album, Live: It’s Been Awhile was recorded.

Nobody could believe Willy Mason was only 19 when he appeared on the indie scene, after a chain of events that saw Mason hanging out, performing gigs and touring America with the likes of Conor Obrest and his band, Bright Eyes around the time of releasing 'Humans Eat', the 2004 album and its singles (now classic track "Oxygen" and "So Long") charting in the UK Singles and Albums Charts in 2005. "Already Dead" follows 'Carry On', his 2012 album produced by Dan Carey during his time in South London which also led to Mason's feature on Lianne La Havas' album 'Is Your Love Big Enough' and his 2012 tour with Ben Howard.

The internationally renowned alternative Bluesman, famous for his outrageous one-man live show and songs featured in Breaking Bad (plus many other soundtracks), has now brought his blues growl and rough sound up to peak industry production and style...of around 1974.
This album sits style-wise alongside the greats of the genre: Tom Waits, Randy Newman, Dr John. It also has the unmistakable blues harmonica, voice and wit all his own.
Fans also purchase Seasick Steve, Jon Spencer , and other alt-Blues recordings.
Son Of Dave is a unique genre bending 21st century Blues innovator who has been bringing his 9+ albums and shows to modern generations internationally over two decades and selling over 20,000 hard copies, 50,000 DD, and streaming 3 million annually.
UK PR has secured radio plays at BBC6Music, BBCRadio2, Jazz FM, RadioX Canadian PR has secured charting college station support and national CBC plays.
UK autumn tours include dates supporting Sleaford Mods (not your average blues circuit) 2020 and 2021 singles were playlisted at Spotify curated Nu-Blue, Bluestronica and other alt-Blues type playlists.
Former member of multi-million selling Crash Test Dummies all through their heyday
Has been chosen support for Iggy & The Stooges, Supergrass, Rag&Bone Man,
John Spencer, UB40 and many more. Not the same old Blues in other words.
A very long list of achievements.

The album follows Stevenson’s 2019 career milestone The Big Freeze,
celebrated for its ‘finely detailed, wrenchingly intimate songwriting’
(All Songs Considered), and a 2020 NPR Tiny Desk
(counted as one of the year’s 20 Best).
Produced by John Agnello (Sonic Youth, Dinosaur Jr., Kurt Vile,) at The Building in Marlboro, NY, Laura Stevenson is an altogether beautiful record, a sincere portrait of a human heart in all its vibrant colors.
More than anything, it is about bearing one’s whole self in the face of those you love’uncomfortable, and exposed, but vital, present. Here.

Joshua is the follow-up album to Olympic. While the second album, typically, often shows what critics call “maturity”, here Simon has released instead an album of adolescence. The musician opened up his own memory box to contemplate his childhood souvenirs, and dust them off of all nostalgia. At that time, he would VHS-record movies from TV and tape record soundtracks directly from the TV speaker, so he could listen to them in his bedroom. This is when he “discovered the power of music, the way it makes you enter another world, far from reality. I wanted to pay tribute to the era I shaped myself in – the ’80s and ’90s”. Tangerine Dream, Kraftwerk and Soft Machine. Logically, these are the sonic signatures that seem to haunt the album. The timeless pioneers of synthetic music constitute the sound references, without any established chronological timeline, that blend with the atmosphere of typically “French Touch” movie soundtracks – long before the term was even coined. “I use a musical palette that acts as a flashback to my favourite teenage movies: the synth sounds of Close Encounters of the Third Kind; the synth pads in Jean-Jacques Cousteau’s fascinating documentaries about the sea world; the melodies in the manner of François De Roubaix; the themes that evoke the soundtracks of late-night TV sessions (those by Verneuil, those with Belmondo, Depardieu, etc.); and the sci-fi ambiences like in Blade Runner.” In short, an aesthetic was decided on by Simon very early on: French analog synths instead of North American symphonic orchestras.

The name Joshua has two meanings for French 79: one is linked to the idea of nostalgia, the other to adventure. On the one hand, the computer in the 1983 movie Wargames, and on the other, the boat of French sailor Bernard Moitessier.

The track titled Joshua synthesizes the spirit of the album – an odyssey, a neverending crossing of the world in search of oneself, a spontaneous escape into the future, under the benevolent eye of the past. This epic invites everyone of us to a specific place in our imagination, which is also the source of an indescribable pleasure for French 79: a gust of wind, a sailboat ride, a skateboarding trick, the smell of freshly fallen snow, or the dull roar of an impatient audience.

The same aesthetic preferences are found in the videos that illustrate Joshua’s first tracks: for Hold On, the skateboarder chose to recall the cult ’90s skate videos that he would watch on repeat as a teenager, while Hometown hints at Close Encounters of the Third Kind. Although he now calls Marseille home, Simon continuously draws with passion from the anachronic contemporaneity of his childhood in the Eastern French region.

“I need escape to be able to create. A two or three-day sailing trip gives me enough inspiration to lock myself in the studio for a week when I’m back on dry land.” His boat takes him far away from everything, far from the Old Port where she moors, the rest of the time Simon would escape by walking the streets of his city or climbing the Alpine mountains.

Not only does the new version French 79 reveal a few biographical pieces of Simon henner's history, but it also inaugurates the first vocal track for the musician. One feels a guilty pleasure when hearing him take the lead on the first track, The Remedy. The electronic fugue that opens the album sets the tone: Simon has found the cure for his inner turmoil and wants us to discover our own treatment too. Hold On is a sonic explosion that celebrates the feeling of freedom - what's more of a teenage dream than this feeling - and it eventually command one to feel the same way too. Echoing Olympic, the electronic argonaut invites his muse again, singer Sarah Rebecca. On By Your Side and Touch The Stars, the native of Ocean Springs, Mississippi, now based in Paris, hoisted the mainsail of dream pop. First, though a dialogue that surfaced their unfailing attachment to the bonds of friendship, then through the light hearted atmosphere that leaves us with no choice but to believe in our own dreams and do anything possible to fulfill them. The quest for peace in the midst of the daily din is heard in both Code Zero and the title track Joshua, two majestic journeys in search of hedonism, combined with introspection.

One happy thing to be grateful for during otherwise trying times is finally getting to hear and enjoy new work by a man whose music is familiar to millions even if his name is less so. Indeed, Gil Scott-Heron continues to cast such a wide shadow that even many of his biggest fans often seem to forget that there's another name next to his on the bulk of his albums, the name of a man teamed up with Gil as a teenager and proceeded to ride out the decade as his writing partner, keyboardist, arranger, and bandleader for their Midnight Band. That man's name is Brian Jackson. His considerable backlog of unheard material reveals a stillenergetic and still-vital icon of the music wing of the Black Liberation movement. Prepare to hear from a musician whose work has contributed to the enhancement of all our lives in some form or another with the latest installment of the Ali Shaheed Muhammad and Adrian Younge's Jazz Is Dead series.

One happy thing to be grateful for during otherwise trying times is finally getting to hear and enjoy new work by a man whose music is familiar to millions even if his name is less so. Indeed, Gil Scott-Heron continues to cast such a wide shadow that even many of his biggest fans often seem to forget that there's another name next to his on the bulk of his albums, the name of a man teamed up with Gil as a teenager and proceeded to ride out the decade as his writing partner, keyboardist, arranger, and bandleader for their Midnight Band. That man's name is Brian Jackson. His considerable backlog of unheard material reveals a stillenergetic and still-vital icon of the music wing of the Black Liberation movement. Prepare to hear from a musician whose work has contributed to the enhancement of all our lives in some form or another with the latest installment of the Ali Shaheed Muhammad and Adrian Younge's Jazz Is Dead series.

Die Grammy-nominierte Band Hiatus Kaiyote veröffentlichen ihr neues Album auf Brainfeeder! Knapp 6 Jahre nach "Choose Your Weapon" (2015) erscheint endlich das brandneue Studioalbum!

Die zweifach Grammy-nominierte Band besteht aus Naomi „Nai Palm“ Saalfield (Gitarre, Gesang), Paul Bender (Bass), Simon Mavin (Keyboards) und Perrin Moss (Schlagzeug). Das neue Album ist der Nachfolger ihres 2015er Albums, „Choose Your Weapon“, das der Rolling Stone als „atemberaubenden Schritt nach oben“ beschrieb und sie von Glastonbury bis zum Fuji Rock führte, vom Roots Picnic bis zur ausverkauften Sydney Opera. Das neue Projekt konnte endlich entstehen, nachdem die Band auf Songs von The Carters (Beyoncé & Jay-Z), Kendrick Lamar, Anderson .Paak, Chance The Rapper oder Drake gesampelt wurde - mit dem Nai Palm aber auch auf seinem Album, „Scorpion“, zusammenarbeitete. Das Ergebnis ist ein Album, das sich, untermalt von Verocais Streichern, in einem Groove entspannt: sonnenbeschienen, erhaben, meisterhaft. Hinter allem steckt Hiatus' gewohnter Sinn für musikalische Abenteuer, ihre Gabe, das Komplexe einfach klingen zu lassen, oder, in ihren eigenen Worten: „Wondercore“. Simons Experiment mit einem ungeraden Rhythmus, der in 5er-Gruppen gepackt ist, wird zu einem kaskadenartigen Jam namens „Rose Water“. Benders und Simons Austausch einzelner Noten, hin und her, um eine Melodie zu bilden, wird zu „All The Words We Don't Say“. Nais frecher Kommentar auf sexbesessene, dreiminütige Pop-Hits wird zu „Chivalry Is Not Dead“, einem Song über die bizarren Paarungsrituale von Leopardenschnecken (sie leuchten fluoreszierend) und Seepferdchen (sie verschränken ihre Schwänze und tanzen). Das Album endet mit dem zarten „Blood And Marrow“, einer Bender-Bassline, zu der Nai und Perrin improvisierten, und die Simon als seinen Lieblingssong anpreist: „Es ist ein klassischer Hiatus-Studio-Song, der eine schöne Erkundung ist und ein Geheimnis bereithält.“

* Pressed on special RSD color wax.
* Includes bonus limited edition flexi of an ultra rare recording performed by Roky Erickson.
* Pressed at RTI.

Texan Roky Erickson was one of the true mind-blowing pioneers of psychedelic music. The original leader of the Austin-based 13th Floor Elevators formed in 1965, Erickson and band invented a brand new style or rock & roll, one that was slightly unhinged while it explored the consciousness-expanding influence of LSD on music. After three years, the group imploded with mental issues and legal challenges, ending with Erickson being incarcerated for several years in the Hospital for the Criminally Insane in Rusk, Texas. When he was released in the early '70s the musician continued on his own trail, recording songs that had come to him in his far-flung cerebral wanderings. Erickson, who passed away May 31, 2019, is now celebrated on this 12-track tribute to one of the most original rockers ever.

The participants range the whole world of modern music, and each chose one of Erickson's originals to stamp their own imprint on. They include Billy F Gibbons, Lucinda Williams, Mosshart Sexton (a/k/a Alison Mosshart & Charlie Sexton), Neko Case, Mark Lanegan & Lynn Castle, Jeff Tweedy, Margo Price, Gary Clark Jr & Eve Monsees, Ty Segal, Chelsea Wolfe, The Black Angels and Brogan Bentley. The album is co-produced for release by Bill Bentley, executive producer of the 1990 Roky Erickson tribute album Where The Pyramid Meets The Eye on Sire Records, and Matt Sullivan, co-founder/owner of Light in the Attic Records.

The songs range from Erickson's debut iconic original, "You're Gonna Miss Me," recorded when he was a member first in The Spades and then the 13th Floor Elevators during the early '60s in Austin, to some of Erickson's later songs, like "If You Have Ghosts," which heard him exploring some of the outer limits of the human psyche. Each new recording is a stunning modern take on the sound that Roky Erickson gave the world over a half-century of writing, recording and touring. No one has ever equaled those explorations.

This truly is the music of the spheres, as Erickson once sang about his sound, as seen through the eyes and ears of those who are united in their love and respect for a person who dedicated his life to rock & roll. Roky Erickson, through the trials and tribulations of a man both imbued with greatness and haunted by darkness, never quit in his quest to share with others what he heard and saw. As he sang on the 13th Floor Elevators last recording, "May the circle remain unbroken."

Belabouche is an Italian Producer. His Disco/Funk edits have been released on labels like DiscoDat, Gimme! Gimme !,

Magic Wand, Midnight Riot, Paper Disco, FKR, and Spare Change Disco. After making some remixes, he is out now with
a new EP on the JDP Disco label. 4 juicy tracks, including Brooklin with the feat. by flutist George alla Dispari, written and performed in his studio. Further enhanced and mastered by Francesco Brini.

A desperate, desert-baked Midnight Highway of Lost Souls, Cuckolds, Wastrels, blistering Righteous Anthems and delirious Apocalyptic Fever-Dreams. This sublime collection of knowns and unknowns, battered Nashville legends and forgotten backwoods-poets features tales of Grisly Barroom Homicides, Jilted Lustmords, Grim Divorcees in Bedlam and Fiery Suburban Infanticides. Often originally waxed and distributed in unrewarding amounts, these Troubled Troubadours sing of Cowardice, Infidelity, Spurned Lover's Suicide Pacts, Tortured Jailbirds, Vengeful Inebriates and dubious Parenting Skills.
Years in the making – ‘Hillbillies In Hell’ (Volume XII) presents 16 timeless tribulations - Sinful Seductresses, Grinding Poverty, Nihilistic Murderous Horrors, Satan's Eternal Maze of Hardships and Temptations and God's blazing Light of Redemption.
A dank yet at times uplifting stash of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure…

. Elton Britt - Lost Highway
, Porter Wagoner - Fairchild
, Justin Tubb - The Great River Road Mystery
, Sanford Clark - It's Nothing To Me
, Johnny Paycheck - You'll Recover In Time
, Stonewall Jackson - Somebody's Always Leaving
, Porter Wagoner And Dolly Parton - The Party
, Buddy Starcher - When Payday Comes
, Tommy Curtis And Bill Taylor - Devil's Stumbling Block
, Jody Reynolds - Devil Girl
, Henson Cargill - Going Backwards
, Lorrie Collins - Another Man Done Gone
, Bobby Braddock - Revelation
, Stonewall Jackson And The Brentwood Children's Choir - That's All This Old World Needs
, The Speer Family - You Can't Run Away From God
, The Singing Rambos - When Payday Comes",Witness...

Various Artists ‘In Bed With Marina’
Classic Indie/Chamber-Pop
2LP MA90 (Marina Records) £15.50
Deal: B/C: 4015698905656

THIS ONE MISSED THE DEADLINE FOR THE OFFICIAL RSD LISTINGS BUT WILL BE AN **UNOFFICIAL RSD DROP 2 ** RELEASE...LIMITED +NON-RETURNABLE..

Celebrating its 25th anniversary, this classic Marina compilation from 1996 makes its first appearance on vinyl. Packaged in a deluxe gatefold cover, In Bed With Marina features track-by-track notes, lots of photographs, two vinyl-only bonus cuts and a gorgeous poster.
Enjoy 24 stunning tracks on two groovy LPs incl. many unreleased cuts and exclusive contributions by Edwyn Collins, Shack, Teenage Fanclub, The Pearlfishers, Cowboy Mouth, The Bathers, Harpers Bizarre, Sugartown, Paul Quinn & The Independent Group, Jazzateers, Antonio Carlos Jobim, Malcolm Ross, The Secret Goldfish, and many others.

Repress.

Adam Cook aka Tommy Rawson returns to Bergerac with another killer EP of uplifting, tropical deep house, broken beat and Brit funk vibes. Following on from 2018s Gilles Peterson hammered 'Deep Blue' EP, he returns to Red Rack'ems Bergerac label with an absolutely killer 3 tracker which showcases the Watford, England based producers world class musical chops. Surely a contender for THE summer record with a sun kissed Brit funk A side which is tailor made for the WWFM and We Out Here crew. A tropical house and broken beat burner make up an equally strong flip. We are very happy (and relieved) to be presenting to you an absolutely belting EP of UK soulful dance music.

It's nothing short of a miracle that the A side track 'Illusions' has ever made it on to vinyl. Jonna from City Fly remembers 'Adam had this on a CDR at Southport in 2008 and it became our official track of the festival as we all partied together the whole weekend it got played again and again back at our Chalet parties'. But then as these things often sadly go, the funk diamond was lost for a few years in the digital ether. Fast forward to 2014 and Danny Berman aka Red Rack'em is playing a 320 of 'Illusions' everywhere but alas it's just a demo and Adam can't locate the arrangement to complete the track as it's on a broken computer in his Mums attic.

Then finally this year, after many pleading emails and plenty of gentle cajoling, there's some amazing news! Adam has located the broken computer and after a day of digital open heart surgery, and then a re-edit over Zoom (no really) we finally had the killer, classic UK soulful anthem you're listening to today. A voice over from a disco documentary cleverly introduces each instrument on the intro before Tommy pushes the button marked 'biggest bassline of the year' and takes us into boogie heaven.

'Sound Crazy' on the flip is another one of those classic Afrobeat tinged Tommy rollers. Big room vibes but with a lot of soul. Rolling broken drums and a huge bassline combine with plenty of spicy, tropical atmosphere on top. The trademark Rawson uplifting chords begin after an anticipatory vibe filled breakdown, taking you to the stratosphere.

'Ads Mood' is the most 'classical' broken beat track on the record, but they are all playable in multiple environments and transcend mere genres. Heavy bass and extra funky syncopated beats climax into a beautiful almost orchestral feel to close off an exemplary EP of higher quality moods and emotions. Don't sleep.

The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

Updating Marcos Valle’s seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.
The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth heavy instrumental funk stepper ‘Odisséia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’.

Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the sixties, writing the world famous bossa standard ‘Summer Samba (So Nice)’ for his sophomore album ‘Samba 68’. After a brief stint in the States, Valle returned to Brazil, and the early ’70s saw the release of four ground-breaking Valle albums which incorporated progressive rock, psychedelic influences, pop, jazz, soul and cinematic arrangements. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento’s backing band Som Imaginaro, the prog-rock band O Terco and jazz funk legends Azymuth. Returning back to the US in ‘75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, before returning to Brazil once more, where after releasing a handful of hit pop records, he took a hiatus from recording.

Since the mid-nineties, Marcos Valle has been experiencing a renaissance with London based label Far Out Recordings, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

Just in time for summer, Sempre is out on Vinyl LP/ CD on 28th June 2019 on Far Out Recordings, and Marcos Valle and band will be touring Europe in May /June (see below for dates).

Parisian Soul debut on Local Talk is intelligent, warm, jazzy, peak time house music.
It has the underground vibe yet speaks to everyone, timely thought out chords that gives you positive rush to your ears and give your heart a great big hug.
On the flip legendary producer Olivier Portal aka Playin' 4 The City delivers a mix that is screaming to be played as much on a sunny afternoon as it is at a night party, it is heavenly!

Artist info : In the early 80's, when he was still a young boy, David Hachour involved himself totally in Hip Hop culture. He bought turntables and became a Hip Hop DJ. He threw parties, participated in graffiti contests, became a high level BMX competitor. Having moved to London, David ditched the Adidas and the paint bombs for electronic music.

In 1998, David Hachour founded Oscar with his friend Florent Sabaton, releasing 3 albums and many singles. David traveled all over the world to play alongside famous DJs such as Rainer Truby, Louie Vega, Shazz, Carl Craig, Grand Master Flash, Kenny Larkin, Dixon.

In 2016, David started working on Parisian Soul with his friends Alexandre Destrez (St Germain, Dimitri From Paris) and percussionist Edmundo Carneiro (St. Germain, Bob Sinclar, De La Soul).

Delicate Wash returns to tease and please once again with a bright cocktail of mind-melding melodies accompanied by stiff drum machine rhythms.

Four piquant party starters pulled from the shores of a vintage future-scape where the horizon glows from a perpetual sunset, and there's just enough gravity to keep your feet bouncing on the sand.
Versatile, balanced and blendable, Delicate Wash #5 contains all the ingredients for you to build your own seductive sonic universe!

Ltd Black Vinyl Gatefold edition + 32 Page Booklet + Download Code

The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah.

+ a booklet with writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by, Araki, Juergen Teller, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles among others. Lacquer cut by Josh Bonati & Mastered by Rashad Becker

'PRSNT' is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed tracks, which are approximately 32 seconds long.

The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.

Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno's famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.

'PRSNT' acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution, or "if you can't beat 'em join 'em" resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners' busy lives, which are often spent tackling ever-increasing workloads.

CONFUSIONAL QUARTET: A few months after the release of the first and self-titled LP, this 10-inch album carrying the same title "Confusional Quartet" was released. On this album the band continues to offer songs (called songs even if Confusional Quartet did not have a singer) using the energy of post punk and the mood of new wave.
This new project also includes the piece "Sigla" produced and edited in 6 different ways.
"Sigla" is an example of what Confusional Quartet used to call "Banal Music" inspired by the designer Mendini's "banal object". This track was recorded and edited by tape recorders to come out in different "metamusical" forms.
This record stands out also for the beautiful cover featuring a photo of Giacomo Balla's "flowers" sculptures, the Italian futurist artist who worked on a plastic and dynamic reconstruction of the universe.

You can now listen to the ten tracks of this 10" on the A -SIDE of the new release on a 12". The B-SIDE is dedicated to a rare live recording dated 1980.
Despite the quality of an amateur audio cassette, this recording testifies the band's iconoclastic energy. A fulminating live set, just over half an hour, no words, just music, quickly passing from a punk piece to a jazz piece or to a polka.

This record is also offered by Italian Records on a special colored vinyl edition of 180gr.

After enduring a year like 2020, no one could have possibly expected Al Jourgensen to stay silent on the maelstrom of the past 12 months. As the mastermind behind pioneering industrial outfit Ministry, Jourgensen has spent the last four decades using music as a megaphone to rally listeners to the fight for equal rights, restoring American liberties, exposing exploitation and putting crooked politicians in their rightful place—set to a background of aggressive riffs, searing vocals and manipulated sounds to drive it home.
As Jourgensen watched the chaos that befell the world during the height of a global pandemic and the tensions rising from one of the most important elections in American history, he seized on the opportunity to write, spending quarantine holed up in his self-built home studio—Scheisse Dog Studio— along with engineer Michael Rozon and girlfriend Liz Walton to create Ministry’s latest masterpiece, Moral Hygiene (out October 1 on Nuclear Blast Records). Anchored by last year’s leadoff track “Alert Level”—which asks listeners to internalize the question “How concerned are you?”—the 10 songs on this upcoming 15th studio album cover the breadth of the current dilemmas facing humanity, while ruminating on the sizable impact of COVID-19, the inevitable effects of climate change, consequences of misinformed conspiracies and the stakes in the fight for racial equality. And most importantly doing so with the lens of what we as a society are going to do about it all.
Moral Hygiene comes on the heels of Ministry’s acclaimed 2018 album AmeriKKKant (hailed by Loudwire as Jourgensen’s own “state of the union” address) that was written as a reaction to Donald J. Trump being elected president—though Jourgensen says this new album is more informational and reflective in tone. “With AmeriKKKant I was in shock that Trump won. I didn’t know what to do, but I knew I had to do something. Because I believe if you are a musician or an artist you should be expressing what’s going on around you through your art. It’s going to happen whether you do it consciously or unconsciously. Moral Hygiene however has progressed even further into a cautionary tale of what will happen if we don’t act. There’s less rage, but there’s more reflection and I bring in some guests to help cement that narrative.”
In addition to recruiting long-time cohort Jello Biafra (Jourgensen’s partner in the side project Lard) for the quirky earworm “Sabotage Is Sex,” other guest appearances include guitarist Billy Morrison (Billy Idol/Royal Machines) on a rendition of The Stooges hit “Search & Destroy.”
Another standout track is “Believe Me,” featuring a throwback vocal style from Jourgensen that harkens back to his singing on Twitch and cult classic “(Every Day Is) Halloween.” The song came out of a jam session with Morrison, Cesar Soto and sampling from Liz Walton, and reminded Jourgensen of his formative days at Chicago Trax Studios where communal ideas were constantly informing early Ministry records. “’Believe Me’ had such an old school vibe I wanted to bring back old school vocals. …It’s funny how things come back to you,” says Jourgensen, also reflecting on Ministry turning 40 in 2021.

With the release of Moral Hygiene, Jourgensen is more positive than before. “This may sound crazy but I’m more hopeful about 2021 than I have been in two decades at least,” he says. “Because I do see things changing; people are starting to see through all the bullshit and want to get back to actual decorum in society. We could just treat each other nicely and be treated nicely in return. I never thought Ministry would be in the position of preaching traditional values, but this is the rebellion now.”

Music in Exile is excited to announce a new 12” maxi-single release from the “King of Music”, GORDON KOANG. Titled Coronavirus / Disco, this double-A-side release share’s Gordon’s messages of peace, love and positivity, and is his first original offering since his acclaimed Unity album was released in late 2020.

The first single, Coronavirus, was penned by Koang in July 2020 as a response to his personal experiences of the global pandemic. As his hometown of Melbourne went into lockdown, Gordon resided in the outer suburbs of Melbourne with his cousin, Paul, and his four-stringed, guitar-like instrument, the thom. Throughout this single, Gordon offers his condolences to those affected by the pandemic, alongside messages of his faith in frontline workers and the hope that circumstances will improve soon. “People suffer a lot. I ask that God gives the doctors the big wisdom to defeat the coronavirus. When people hear my song, I hope that this music counsels them. The song has a lot of meaning, it is telling them to be hopeful.”

With the cancellation of a national tour and numerous festival appearances, Covid-19 had not only impacted Gordon’s career here in Australia but also his opportunity to visit family he hadn’t seen in five years. After receiving Australian permanent residency, Gordon and Paul were now able to visit family in Uganda, however this was made incredibly difficult due to border closures and the potential health risks. Taking a last minute opportunity, Gordon and Paul travelled to Africa and whilst excited to visit their families, they also experienced the impact of the pandemic on their home communities. “In Africa, it is not like us here, there is no medicine and in Africa there is also no Centrelink if you are in lockdown. It is difficult getting services. Even getting food is difficult.”

After two weeks in hotel quarantine, Gordon and Paul returned to Melbourne, eager to record music once more. With lockdown lifting, Gordon headed to the studio with a new band featuring Zak Olsen (ORB, Traffik Island) Jack Kong (Baked Beans, Traffik Island), David “Daff” Gravolin (ORB), and Jesse Williams (Leah Senior, Girlatones). This new release is the result of these studio sessions, jamming and recording at Button Pusher in Preston, Melbourne.

For the DJ’s out there, both tracks will feature on a limited edition, 12” maxi single vinyl complete with pull-out poster from Gordon, encouraging listeners to stay positive during this difficult time.

“My condolences to you, my audience in lockdown. We are all suffering from coronavirus. Let us stand firm and be strong. Let us look after each other, until the time comes when God brings us together. I give my condolences to people who have died of coronavirus, in aged care and disability. We are heartbroken for everyone. Let us take it easy, and pray in our houses, all around the world. If you believe in God, pray to the God you believe in, and they will help you. God will give us the chance to go back to normal and open all events. Even if it is a bad time now, there will be a change and it will be a good time for us. Thank you to everyone.” - Gordon Koang

- North American version on CLEAR vinyl (2XLP) - Limited DOUBLE 180g Vinyl Edition (500 copies) with obi strip - Rare Dutch studio recordings, one of Art's last sessions before he passed away - Comes with insert/liner notes // Art Blakey (1919-1990) actually needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk's first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane_.and countless others.Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. His signature polyrhythmic style was amazing, exuding power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms. A loud and domineering drummer_but Blakey also listened and responded to the others in the band. He was an original, an important drummer you'd hear_and would recognize immediately.Art Blakey was inducted into the Downbeat Jazz Hall of Fame (1981), the Modern Drummer Hall of Fame (1991), the Grammy Hall of Fame (1998 and 2001) and was awarded the Grammy Lifetime Achievement Award posthumously in 2005. He was sampled and remixed by renowned acts such as Raekwon, Black Eyed Peas, A Tribe Called Quest, Digable Planets, Buscemi, KRS-One and Madlib.In the mid-1950s he and Horace Silver formed `The Jazz Messengers': a group that Blakey would perform and record with for the next 35 years. Originally formed as a collective of contemporaries_but over the years the band became known as an incubator for young talent that included artists such as Freddie Hubbard, Wayne Shorter, Cedar Walton, Chuck Mangione, John Hicks_and MANY others. Art Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. Blakey's final performances were in July 1990. He died on October 16 of lung cancer. The legacy of Art Blakey and his band is not only the music they produced, but also the opportunities they provided for several generations of jazz musicians.Released on the legendary Dutch jazz label Timeless Records and one of his final recordings_on the album we are presenting you today (Chippin' In) you'll find ten sublime tracks recorded at Rudy van Gelder's Recording Studio in February 1990. Art Blakey passed away just 8 months after these tracks were cut and you can't hear any signs of him slowing down at all. For these specific recordings, The Jazz Messengers were expanded from its usual quintet or sextet into a septet and they showcase their energetic signature sound with remarkable style, musical knowledge, a dash of good humor and camaraderie you'd expect from a world class band who have entertained, thrilled and amazed for almost five decades. The line-up on these fantastic sessions includes non-other than Essiet Okon, Geoff Keezer, Dale Barlow, Javon Jackson, Frank Lacy, Steve Davis and Brian Lynch_impressive to say the least!Chippin' In sounds as successful, young and vibrant as ever! Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This electrifying set of tracks contains both originals and several eclectic versions of standards_making this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Brazilian bossa nova legend with his much revered self titled 1973 album. ROLLING STONE called it one of the 100 best Brazilan albums in history, features Miucha on backing vocals and famous American jazz drummer Sonny Carr.

Fueled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021. For July 2021, we will be releasing Panic! At The Disco’s debut studio album ‘A Fever You Can’t Sweat Out’ on silver vinyl.



FBR 25 Podcast



We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.



25th Anniversary Merchandise



We announced the 25th Anniversary around Thanksgiving last year with our first 25th Anniversary limited merch drop, and then will be working throughout 2021 on new and exclusive designs to drop throughout the year.