Cerca:h paul

In 2023, Irène Drésel, an electro artist between Vitalic and Solomun, became the first woman in history to win the César (French Cinéma Award) for " Best Original Score ". Her colourful techno music is as sensual as it is upfront inspired by a rich, magnetic, sonic and visual universe. After two consecutive EPs, "Rita" (2017) and "Icône" (2018), her debut album "Hyper Cristal" was released in Spring 2019. It was followed by a second album, "Kinky Dogma" in 2021, which Libération (French National Newspaper) describes as "an accomplished work of techno, ambitious but not pretentious, since it never loses sight of its author"s objective: to provoke irresistible joy in the listener". And now is the time for "Rose Fluo", her brand new album!

Samosa Records roars into 2024 with a sublime four-tracker, the curiously titled ‘(Re)-Funk+Head EP'.

All four tracks have been carefully sized, selected and re-edited by De Gama himself. For those not in the know, Re-Funking is serious business and you can tell De Gama’s laboratory was in full flow in bringing these tracks even closer to the dance floor!

First up on the A-Side are Samosa favourites Dirtyelements & Drunkdrivers with the hypnotic, smokey dim lit club thumper ‘Keep It Coming’. Coming in at a deceptive 115bpm, the bass massages your brain whilst the keys, vocal sample and beats tickle your toes. A deliciously salty and sweet re-edit.

Sneaking up on you is A2 and a track from label boss De Gama himself – the flutey, tootie late night funk bomb that is ‘Some More’. Be warned - this dirty birdie stirs up primordial feelings that are probably illegal in some countries. It’s not an overstatement to say that ‘Some More’ is the definition of pure, adult-orientated funking. Saddle up, put out the camp fire and ride it into town.

A quick flip to the B-side and you’ll find Paul Older’s Sax Francisco (B1) parading down the street in all its splendid glory. Mr Older sure knows how to cook - and served on his sombrero-shaped sun terrace is this fantastic tropical sorbet of a tune. The production is assured and so warm that you lose yourself for the entire 6 mins and 26 seconds in its spell. Expect this to be packed in your summer 2024 suitcase with your Factor 50.

Closing the EP off is the super-talented MB Edit and his deadly groover ‘Got The Feeling’. The serious business of Re-Funking is on full display here – stompy, squeaky clean four-to-the-floor drumbeats, twisted riffs and subtle piano prepare you for the soaring horns, heavenly strings and disco-fied vocal breakdown that used to make lofts bounce and dark clubs heave. A dreamy, relentless journey into the disco ball for those lucky enough to jump in.

(Re)-Funk+Head is another exceptional EP from the Samosa stables and pushes the ever-expanding sonic boundaries with seriously solid production, stone cold grooves and a roster of amazing talent on one EP. A must, must, must have for the record box!!

Ste Hendry Black Light Disco

The first of three albums recorded by the trio; Ginger Baker (Cream/Blind Faith), Paul Gurvitz (Gun/The Graeme Edge Band) and Adrian Gurvitz (Gun/The Graeme Edge Band). The self-titled The Baker Gurvitz Army album was released in 1974 and peaked at No. 22 in the UK charts. This mid-70's hard-hitting LP is a fine example of unified musicianship both confident and self-assured.

Reel People Music breathes new life into its gleaming vault of back catalogue classics with brand new series Fusion Moves. The series will offer talented music-makers the opportunity to remix and reinterpret label releases of their choosing, kicking off with soulful progressive Kaidi Tatham in the hot seat.

Tatham’s modus operandi is clear from the get-go. Opening selection Sebb Junior feat. Paula’s All Of My Life flows dreamily upon that trademark Tatham mix of organic beats, polished horns and immersive keys. As Paula rightly sings, “the beautiful can happen.” And keep happening…. Reel People feat. Mica Paris’ reworked I Want To Thank You gains elegant funk and boogie bounce, a bubblin b-line and those upweighted backing vocals adding new urgency and depth, whilst some extended bass-end manoeuvrings on the collective’s 2020 hit Save a Lil Love provide a hugely effective counterpoint to Eric Roberson’s super-smooth vocals.

Tatham switches things up for his re-take of The Realm x Atjazz x Kelli Sae’s deep afro-house burner On The Road, adding wonderfully carefree jazz-funk flow ‘n’ feeling replete with sweet synth solos and guitar licks. The snappy syncopated rhythms propelling Daz-I-Kue feat. Hadiya George’s Pedigree and Monkey Brothers feat. Sean Escoffery’s stunning Losin’ My Head align to the rich broken beat heritage for which most admirers associate him but, true to form, he continues to glide compellingly between mood and moves….

From the loose bass-guitar groove of Eric Ericksson & Reel People feat. Debra Debs’ Don’t Hold Back On Love and sultry strut and swagger of AAries’ Don’t Give It Up to Sebb Junior feat. Muhsinah’s infectiously jammin’ Special – lovingly framed by nimble jazz-piano play – and the liberatingly upbeat dressing applied to Tony Momrelle’s seminal Fly, Tatham’s sonic upholstery right across Fusion Moves is as skilful as it is impactful. One expert body of work built upon another.

Expect to hear further Fusion Moves in the coming months. Fresh twists on quality songs and sounds. Always with soulful authenticity at the heart.

"Gut Geklaut" ist das dritte Langeisen des Trios aus Mettmann, den Königen und Gründern des METTCORE. Dabei ist die neue Scheibe anders als der Titel es vermuten läßt KEIN Coveralbum, im Gegenteil! Fleischwolf haben einfach alles durch ebendiesen gedreht, was sie an Musikgenres und Bands über die Jahrzehnte an Vorlieben entwickelt haben und sie geprägt hat. Und das ist ne Menge, denn PUNK darf bei Fleischwolf immer noch ALLES und wird weder textlich noch musikalisch in ein Korsett gesteckt! Und deshalb gibt es auf "Gut Geklaut" mit 12 eigenen Songs einfach unglaublich Vieles zu entdecken (inkl zahlreicher Gastmusiker), was das Album für jeden Punk/Hardcore/Metaler zu einer spannenden "Zitatereise" macht: Von den glorreichen Punkrock-Tagen, ("Revolution, "Fuck the System", Hass ist Deine Währung") Hardcore ("Echter Scheisstag", "Sturmflut") , geil-üblen Schweinerock bis Thrash bis hin zur liebevollen NDW-Hommage an ein anderes TRIO aus Großenkneten. ("Ja, Paul") . Und wer einen Song wie "Mötörhead 4 Life" in Petto hat (Nein, Lemmy ist leider nicht auferstanden...hinterm Mirko ist tatsächlich Sänger Ollrich!), kann kein schlechtes Mett sein... "Gut geklaut" Oder auf den Punkt gebracht, wie die Band schon singt: "Wir spielen nicht nach Euren Regeln"!

Jackson C. Frank's eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside.

Frank's backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank's only LP.

For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener "Blues Run The Game" to the stunning melancholy of "Milk And Honey," Frank's nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no '60s folk record that is simultaneously as rare and influential as Jackson C. Frank's self-titled debut.

Der OST zu Paul Kings Film 'Wonka' (2023), einem Prequel zu dem bereits mehrfach verfilmten Kinderbuch 'Charlie und die Schokoladenfabrik' von Roald Dahl. Die Partitur enthält sowohl köstliche Originalmusik, vorgetragen von Protagonist Timothée Chalamet und der phänomenalen Ensemblebesetzung mit Hugh Grant, Calah Lane und Keegan-Michael Key, sowie neue Musik des gefeierten Komponisten Joby Talbot und des Songwriters Neil Hannon. Braunes und cremefarbenes Doppelvinyl in Nagaoka-Stil-Innenhüllen samt Einleger im Hochglanz-Gatefold mit Obi-Strip.

Diane Birch emerges as a formidable American singer-songwriter and pianist, boasting a repertoire of critically lauded releases spanning a rich decade-long career. With an eclectic array of musical influences stemming from a globe-trotting childhood - ranging from her humble beginnings as a preacher's daughter in Zimbabwe and South Africa to her transformative years as a gothic teen immersed in the vibrant cultural underbelly of Portland, Oregon. Her discovery while living in London via Myspace led to a record deal in New York, where she then spent the next few years.

Diane's journey is as diverse as her sound. Her profound experiences have culminated in a unique musical blend, characterized by her stint performing soulful covers and original pieces in the swanky lounges of the Beverly Hills elite. Receiving widespread attention with her debut album "Bible Belt" and her follow-up projects "Speak A Little Louder" and "Nous", these works not only cemented her position in the international music scene but also earned her accolades and respect from esteemed peers including Prince, Daryl Hall, Mark Ronson, Dave Stewart, Questlove, Elvis Costello, Bryan Ferry and Stevie Wonder.

Returning with her latest work, "Flying On Abraham", Diane presents a meticulously crafted collection of original compositions. This album is a heartfelt homage to her vast and varied musical roots, weaving together the rich tapestry of 70s AM radio, soul, jazz, classic rock, 80s/90s pop and R&B. Despite the eclectic mix, Diane's sound remains distinctly her own - her voice a blend of raw emotion and refined grace, echoing the legacy of iconic artists like Carole King, Carly Simon and Rickie Lee Jones, yet standing out with an authenticity and individuality that is unmistakably Diane Birch. Produced by renowned English musician Paul Stacey, known for his work with Noel Gallagher and the Black Crowes, "Flying On Abraham" was recorded in the UK, backed by an impressive lineup of musicians. This album is not just a collection of songs but a narrative of her artistic journey, offering a window into the soul of a woman who has traversed continents and musical genres to create something truly extraordinary.

With "Flying On Abraham", Diane Birch reaffirms her status as a musical virtuoso, continuing to enchant audiences worldwide with her evocative lyrics. It represents Diane's enduring vision of "making American music with an English sensibility."

On her new album Sun Without the Heat, McCalla brings more playfulness and joy than she has on previous records when she speaks to the concerns that have shaped her career, mainly including an ethos in which you must look back at lost and erased histories before you can embrace a forward vision of Afrofuturism and the importance of music making to heal and forge relationships across differences. Across Sun Without the Heat"s ten tracks, she achieves this with music that combines jazz, Haitian Twoubadou, American blues, folk and Brazilian Tropicalismo. Born in New York City to Haitian emigrants and activists, McCalla possesses a stunning mastery of the cello, tenor banjo and guitar. A founding member of Our Native Daughters alongside Rhiannon Giddens, Amysthyst Kiah and Allison Russell and an alumna of Grammy award-winning band The Carolina Chocolate Drops, McCalla has also received considerable praise and attention for her solo works, including 2014"s Vari-Colored Songs: A Tribute to Langston Hughes, which prompted the New York Times to rave that "her voice is disarmingly natural, and her settings are elegantly succinct" and 2022"s Breaking The Thermometer (4/5 review from The Guardian). Lyrically on Sun Without the Heat, McCalla draws from the writings of Black feminist Afrofuturist thinkers Octavia Butler, Alexis Pauline Gumbs and Adrienne Maree Brown, among others, with frequent themes being grief, connection and motherhood. Like these authors, McCalla is thinking hard about collaboration as a means of creative expression, community thinking, personal salvation, and rectifying social injustice. "The stories we"ve been told about ourselves and the stories that we have to learn to undo the stories we"ve been told," she explains."Sometimes these are painful stories to tell. This is especially vivid in the title song, "Sun Without the Heat.""

Influential proto Berlin techno from Effective Force, a duo consisting of former Clock DVA member Paul Browse and Johnny Klimek, ex bassist of German-Aussie New Wave act The Other Ones.

Produced in Berlin shortly after the fall of the wall, the EP draws on influences from the Industrial and EBM scene as well as the Occult and psychedelic research. Originally released as one of the first records on Mark Reeder's fledgling MFS records.

OLUMA wurde 2021 von dem Bassisten Gregor Nicolai, dem Schlagzeuger André van der Heide und dem Saxophonisten Roman Polatzky gegründet. Die instrumentalen Kompositionen der neunköpfigen Band lassen sich dem Global Groove zuordnen. Sie schaffen dichte Grooves, die von energetischen Brass-Lines bespielt werden und in virtuose Improvisationen münden. Die vier Bläser können das Publikum aber auch schwebend und leicht in eine träumerische Welt begleiten. Die multikulturelle Szene Berlins mit ihren unterschiedlichsten musikalischen Einflüssen haben André und Gregor geprägt und zusammengebracht. Dazu kommt die Liebe zu handgemachter Groove-Musik, die Leidenschaft zu tanzbaren Beats. Roman trafen sie im Dunstkreis der Musikhochschule Leipzig, wo sich die internationale Band gefunden hat. Der Albumtitel Cooking Time entstand nicht zufällig: Die Musik entsteht in gemeinsamen Songwriting-Sessions, bei denen Beats gebastelt und Ideen eingesungen werden. Die Band gewann den Delay-Nerd und Afrobeat-Liebhaber Umberto Echo für ihre Aufnahmen, der mit Verwendung alter analoger Technik einen nostalgisch anmutenden Sound schafft, welcher auf moderne Produktion trifft. Mit ihrem Debut-Album möchte OLUMA die Idee teilen, dass Musik einen Beitrag zur globalen Verständigung leisten kann und Menschen verbindet. Carolina Vallejo vom Label One World Records hat dafür genau die richtige Umgebung bereit gestellt. OLUMA präsentiert ein klangvolles Zeugnis für die universelle Sprache der Musik. Ihre mitreißenden Auftritte und ihre künstlerische Vielfalt machen sie zu einer der aufregendsten Bands der gegenwärtigen Musikszene.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

Twentysix artists, lots of wine and pizza, no agenda. This compilation is a collection of vibes and memories from our PLYGRND Beat Retreat in Tuscany, Italy, wrapped in songs. Featuring tracks by Kiefer, Sara Kawai, Flozigg, Adia, Kaelin Ellis, Molly McPhaul, Burrito Eats, DAO, Desh, Dhanya, Elaquent, Elijah Fox, Glimlip, Joe Bae, K Le Maestro, Louk, Mad Keys, miamore, Miri, Nokiaa, Paul Grant, DEOVI, Relyae, Saltyyyy V, Sebastian Kamae, and Tom Doolie. Driving up a hill lined with pine trees and grapevines, arriving at a beautiful arrangement of terracotta colored houses embedded in an unreal scenery made of grapevines and verdurous greens. Roaming this area, worrying about nothing but the day that lies ahead. Bumping into fellow creatives who share the same passion for music and art. Collaborative energy coming out of this; exploring new sounds with new souls. You capture yourself getting lucky, and think to yourself: Don’t take it too seriously, it’s not that deep. But also, make some beautiful stuff, if you can. This year's compilation is a testament to the rich diversity of talent on display. The PLYGRND Beat Retreat Compilation 2023 is not just a collection of tracks; it's a celebration of the artists who brought their A-game to our event. Get your hands on this exclusive gatefold-vinyl, and immerse yourself in the sounds that defined the PLYGRND Beat Retreat 2023. Limited edition, high-quality, and a must-have for any music enthusiast.

Fabiana Palladino announces full details of her hotly anticipated self-titled debut album. The UK vocalist, songwriter, multi-instrumentalist and producer releases ‘Fabiana Palladino’ via Paul Institute / XL Recordings. Made in the wake of the end of a long relationship, the album is an intimate record that sees Fabiana Palladino confront complex questions about love, loneliness and normativity in relationships. The result is a 10-track full-length of shapeshifting sonics that draws inspiration from the big R&B, soul, pop and disco studio productions of the 1980s and 90s and filters them through a modern lens.

Written and self-produced by Palladino, the album features performances from renowned musicians and close friends including Paul Institute co-founder Jai Paul, her father and legendary session bassist Pino Palladino, brother and Yussef Dayes bassist Rocco Palladino, renowned drummer Steve Ferrone and strings from Rob Moose.

Speaking on the new music and forthcoming album, Fabiana Palladino says: “A central theme of the album is aloneness. Whether it’s a song where I’m searching for connection with someone else, or trying to embrace the aloneness, it tends to come back to me, who I am when I’m alone, what I feel when I really look inwards. I’d say it’s a pretty introspective record overall. The songs are often about trying to go deeper into yourself, exploring your true feelings and how they then relate to and affect your relationships with others

Monika Enterprise welcomes a new act to her roster with Berlin based experimental pop duo Post Neo releasing their new EP. Individually known as Nicole Luján and Pauline Weh, both musicians pursued their own solo projects before forming the duo Post Neo. On “Alles Immer Wieder” they combine as more than the sum of their parts to produce 5 songs of dark and powerful experimental avant- pop which is released as an exclusive 10” vinyl.

Pauline and Nicole met making music in Berlin during the summer of 2019 and kept collaborating online, until Nicole moved to Berlin in 2022. The musicians' different musical backgrounds result in diverse intuitions which complement each other perfectly when producing tracks together - Nicole was more into synthesis and electronic music production in Mexico City while Pauline received a classical piano education in Munich before she started doing electronic music.

In 2022 they released their first EP, «do you?», which consists of five tracks that were composed and produced as an inter-continental project between Berlin and Mexico City. In autumn of that year Post Neo received a residency at Sternhagen Gut from Musicboard Berlin where they caught the ear of monika head Gudrun Gut who was so taken with their compelling mix of techno beats and dreamy melancholic atmospheres she immediately signed them to her label.

The EP’s opening and title track “Alles Immer Wieder” (trans. Everything again and again) is a reflection on repetition and monotony as transcendence in the form of sleep, dreams, work and other daily cycles. The rhythmic juxtapositions and tempo shifts make for a captivating opening track. “Ganz Schön Was Los” (trans. A lot happening) has a proper synthwave electro pop vibe while the vocals lend a little light hearted humanity to the otherwise calculated computer music aesthetic. With its fusion of synthesizers and drum machines track B1 “Die Verwirrung” (trans. The confusion) brings a sense of melancholic doom. The flow of B2 “Wenn Wir Wüssten” (trans. If we knew what would happen) is a future-focused reflection on the unidirectional movement of time's arrow. Sampled harmonies and instrumental breakdowns make it possibly the most emotive track on the EP. And the record comes to a close with “Dreh dich” (trans. Turn around) which lures us in with delicate vocals before menacing synthesizer sounds blast us into oblivion. It is an invitation to turn the record over and start listening from the beginning again.

Post Neo’s music is steeped in minimalism: at once managing to be hugely expressive and evocative while still retaining a sense of privacy and mystery for the listener to decrypt. Like all great pop music their songs are musically captivating while also conveying a strong message. As their band name suggests, Post Neo are essentially futuristic and with live shows at some of Berlin’s hottest underground venues under their belt as well as in their hometowns of Munich and Mexico City, plus the release of „Alles Immer Wieder“ in 2024, great things are in store for the electronic pop duo.

Die britische Sängerin, Songwriterin, Multi-Instrumentalistin und Produzentin Fabiana Palladino veröffentlicht am 5. April 2024 ihr selbstbetiteltes Debütalbum bei Paul Institute / XL Recordings. Das Album entstand nach dem Ende einer langen Beziehung und setzt sich mit komplexen Fragen zu Liebe und Einsamkeit in Beziehungen auseinander. Das Ergebnis sind 10 Songs, die sich von den großen R&B-, Soul-, Pop- und Disco-Studioproduktionen der 80er und 90er Jahre inspirieren lassen, gefiltert durch einen modernen Blinkwinkel. Es ist eine intime Platte, die die Toughness und Weiblichkeit von Janet Jackson auf ihrem 1986er Album "Control" und Annie Lennox" bei "DIVA" ausstrahlt, das klassische Songwriting von Kate Bush und Joni Mitchell aufgreift und die romantischen Motown-Duette von Marvin Gaye und Tammi Terrell unterläuft, um die Normativität in Beziehungen zu hinterfragen. Das von Palladino selbst geschriebene und eigenproduzierte Album enthält Beiträge von renommierten Musikern und engen Freunden, darunter vom Mitbegründer des Paul Institute, Jai Paul, dem legendären Session-Bassist Pino Palladino (Fabianas Vater), ihrem Bruder und Yussef Dayes-Bassisten Rocco Palladino, dem bekannten Schlagzeuger Steve Ferrone sowie Streichern von Rob Moose. Fabiana Palladino hat in den letzten Jahren als gefragte Session-Musikerin für Acts wie Jessie Ware, Sampha, SBTRKT oder Laura Groves gearbeitet, während sie in ihrer eigenen Musik intensiv nach Pop-Perfektion strebt. Im vergangenen Jahr war sie Teil von Jai Pauls Band für sein lang erwartetes Live-Debüt, sowie Support-Act der gefeierten Shows.

Wewantsounds is delighted to announce the reissue of Fumio Itabashi's highly sought-after album "Watarase" hailed as one of the great Japanese jazz albums and featuring Itabashi on solo piano playing an inspired mix of standards and originals. Recorded in 1981 for Denon and released in Japan the following year, the album has since reached cult status among international jazz connoisseurs, thanks to Itabashi's inventive piano playing and to its cult title track, a superb lyrical spiritual composition. Newly remastered by Nippon Columbia using their ORT mastering technology, the album reissue features original artwork including a 2 page insert with a new introduction by Paul bowler.

We’re hugely excited to announce the brand new album from Dee C. Lee - ‘Just Something’, out 22 March on Acid Jazz. It follows the incredible response to the new single ‘Walk Away’ and last year’s double-sider ‘Don’t Forget About Love’ / ‘Be There In The Morning’, marking the return of one of the UK’s most revered soul singers. Dee is known for her work with The Style Council, Wham!, Slam Slam and Animal Nightlife, and an illustrious solo career (including the Top 3 hit ‘See The Day’). ‘Just Something’ is her first new record since 1998, and her debut for Acid Jazz. Available on LP and CD, all pre-orders from the Acid Jazz Store will be signed by Dee.

‘Just Something’ features 11 songs: nine originals co-written by Dee, a song penned by her daughter Leah Weller, a successful singer/songwriter in her own right, and two inspired covers. Produced by Sir Tristan Longworth, the album is a soulful collection that frames her instantly recognisable vocals in luxurious horns, percussion and keys, and heritage soul with a disco backdrop. While making the record has been a collaborative process, ‘Just Something’ is nevertheless the sound of a singer in charge of her own style and direction. Her vocal delivery and phrasing steal the show throughout, bright and lilting one moment, passionate and ringing the next. She cites Chaka Khan and Jean Carn as major influences, but Lee’s voice is resolutely her own, the product of a life lived.

Inspired by classic Motown, current single ‘Walk Away’ was written by Dee with one of her ‘brothers from another mother’, former fellow Style Council member Mick Talbot, and features Talbot’s distinctive piano and Wulitzer playing on the track. Talbot also plays on another of the album’s many standouts, the Leah Weller-penned ‘Everyday Summer’.

Three of the album’s songs, opener ‘Back In Time’, first single ‘Don’t Forget About Love’ and ‘How To Love’ were co-written with Michael McEvoy and Ernest McKone, whom Dee wrote with back in the 1980s. All three songs channel her musical past, from the thrill and excitement of those early Wham! days, going out and partying, to The Style Council’s trademark jazzy soul, and expressive balladry and killer choruses, which places Lee in the lineage of classic soul singers.

Elsewhere, on ‘Anything’, co-written with Paul Barry, Dee sings her heart out on a song full of optimism and hope for the future, while ‘For Once In My Life’, the oldest song here dates back to 1998, is effortlessly commercial and has hit written all over it, with Lee empowered and regal sounding over a warm blanket of bassy funk.

The album’s two covers, meanwhile, were both suggested to Lee by Acid Jazz’s Eddie Piller. In Lee’s hands, Renee Geyer’s ‘Be There In The Morning’ is pure celebration, taking its cue from the Norman Connors version from 1979. ‘I Love You’, written by Don Blackman and recorded by Weldon Irvine in 1976, could have been written with Lee in mind. A big club tune, Dee recalls hearing it everywhere she went and I wanted to keep as close to the original vibe as she could.

Dee’s relationship with Acid Jazz the goes back to The Style Council days, and it was the 2019 documentary ‘Long Hot Summers’ that renewed Dee’s friendship with label founder Ed Piller and director Dean Rudland. We’re honoured to release this record and be a part of Dee’s return to the forefront of UK soul music.

From the propulsive immediacy of the bass and drums’ taut groove, it’s clear something has changed in Broken Chanter's world. Thudding, powerful odes to the strength of collectivity and togetherness, David MacGregor’s Broken Chanter bristle with energy and empathy on their incendiary third album Chorus Of Doubt. Recorded (and produced) by Paul Savage over 2023’s spring and summer months in Chemikal Underground’s in-house studio Chem 19, Chorus Of Doubt is fuelled by a burning desire to resist an encroaching, global tide of misery, informed by a wide-eyed sense of solidarity and the searing truth that a universal humanity is the only path out of darkness.

Featuring frequent collaborators Charlotte Printer, Bart Owl and Martin Johnston, Broken Chanter’s world is populated by hope and vitriol rendered in ecstatic rock music, terse agit-Funk and soaring choruses.

The most immediate Broken Chanter record to date, Chorus Of Doubt is David MacGregor’s open love letter to never giving up, a personal road map out of collective lethargy.