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Drawing inspiration from a wide range of cultures and musical traditions, C"mon Tigre is a dynamic duo that developsits identity into a collective of musicians and artists from all over the world. Along the years, they have collaborated with musicians such as Colin Stetson, Seun Kuti, Arto Lindsay, Xênia França and artists Gianluigi Toccafondo, Harri Peccinotti, Danijel Zezelj and Paolo Pellegrin to name a few. TEN, which stands for Tenth Edition Newness, is an expanded edition of their iconic Self Titled debutalbum, which was initially publishedin 2015 through Africantape on a limitedvinyl pressing. It sold out quickly, was later repressedby the band and sold out again. Today, it finds its chance to be reissued with the Computer Students_äó treatment. Fans will love this remastered version, which sounds substantially better than the original. The album"s expansion features a slightly altered record cover in addition to a 12-page booklet with a number of writings and images. TEN will be offered on double blackvinyl, audiophile quality pressing 180-gram, inside a gatefold cover. The entire package is housed in a unique heat-sealed aluminum Type-2 foil bag, courtesy of Computer Students_äó.

The Delights formerly unissued recording “Listen To Me Girl” first made it’s vinyl debut during 2017 when released back to back with Tearra’s modern soul anthem “Just Loving You” (SJ1008). Having sold out very quickly this release now commands a price of £60.00 a copy. So, with demand still high we have decided to release “Listen To Me Girl” for a second time with the addition of two recently found unissued master tape tracks, which make their vinyl debut as part of this 3 track EP.

The Delights story began in the early 1960’s while as a children’s group from Chester PA. known as ‘The Twilights’ they began entering local talent shows which culminated in a performance at Philadelphia’s prestigious ‘Uptown Theatre’ during 1963. ‘The Twilights’ made their professional recording debut in 1964 for Weldon McDougal III, Johnny Stiles and Luther Randolph’s Harthon Production’s label with “It’s Been So Long/She Put Me Down” (TW-34). A second Twilights 45 came in 1967 “Shipwreck/For The First Time” (TW-35) which sold sufficiently well to be picked up for national distribution by Cameo Parkway. The group consisted of four male vocalists, brothers Kemp “Toppy” Hill, Ellis “Butch” Hill (the eldest) and Jaime “Peanut” Hill and their friend Raymond, plus lead singer and only female member Brandi ‘Peaches’ Wells (born Marquerite J. Pinder) who was only 9 years old when she sang on the group’s first Harthon 45, (Jaime Hill reputedly never featured on either of the two Harthon 45 recordings).

The Hill Brothers were cousins of Manny Campbell and it’s through this family connection that the group came to Emandolynn Productions initially as backing singers before being persuaded by Manny to drop their former performing name of ‘The Twilights’, to become ‘The Delights’. Under Manny and fellow Philadelphian Charles J. Bowen’s tutelage they recorded the delightful crossover dance track “Listen To Me Girl” during the months of July and August of 1968. Recent unearthed master tape finds from these early sessions have since yielded the featured “Come And Rejoice” an energetic subtle gospel influenced dance track which Manny wrote and produced on them in the hope of giving them a wider body of work and appeal as he shopped their demos around local record companies. The original backing track to “Listen To Me” is also featured on this release.

During the mid-1970’s ‘The Delights’ under the tutelage of respected Philly producer, arranger and songwriter Morris Bailey Jr recorded two 45 releases for the Jamie/Guyden distributed Phil-L.A Of Soul label “It’s As Simple As That/I’ve Got Enough Sense” (PH-374) and “Face The Music/Things Ain’t What They Used To Be” (PH-379). Brandi Wells had left the group prior to the Phil-L.A Of Soul releases to firstly join Major Harris’s backing singers ‘Brown Sugar’ before forming the group ‘Breeze’ who backed fellow WMOT label stable mates Billy Paul, Fat Larry & Philly Cream (a.k.a Ingram). Breeze later evolved into the group Slick who recorded the self-named album which produced the chart hits “Space Bass” and “Sexy Cream”. In 1981 Brandi recorded her first solo debut album ‘Watch Out’ which reached #37 on the Billboard R&B Chart, her second solo album entitled “20TH Century Fox” followed in 1985 for the Omni label. She recorded the Butch Ingram penned “I Love You” 12” single for Butch’s Society Hill records in 1992. Sadly, Brandi Wells passed away in 2003 at the age of 47.

Edinburgh-based three-piece funk band High Fade are set to release their debut album 'Life’s Too Fast'.

Capturing the raw, on-stage energy that has been the driving force behind High Fade’s meteoric rise was never going to be easy, but that’s exactly what Harry, Oli and Calvin set out to do with a clear creative vision to record their album live at the iconic RAK Studios in London.

'We recorded in RAK Studios, with the desk built for the Rolling Stones in ‘76, with the same cigarette burns still on the faders. It instantly had a vibe of raw energy and liveliness to it that matched the way we wanted to record - live.' – Calvin

The result? 'Life’s Too Fast' – a blistering 10-track debut from one of the UK’s most exciting bands that manages to deliver the same tight, groove-laden funk rock that has put the group on the radars of Jack Black, Cypress Hill and Rage Against the Machine’s Brad Wilk, has seen them tour with The Cat Empire, and tick off iconic venues including Glastonbury, Jazz Cafe, and Boomtown Festival.

'We decided to record the album live rather than through the normal single track overdubbed method – we felt this would help to fully convey the band’s power, sound and energy across to the listener! More like we’re playing a gig and having it recorded – it was a tough process, but we went about it in the best way for both us and the audience, to ensure they’re getting the most authentic High Fade sound and experience possible.' – Oli

Having spent much of the last three years on the road seeing to a punishing tour schedule, 'Life’s Too Fast' is a chance for the band to stop and take stock, to reflect on their whirlwind success, and create an artistic milestone that demonstrates who High Fade are today. 'It’s the most accurate representation of what High Fade is, what we sound like, and who we are' explains Harry. Telling a clear story that matches their own experiences over the last few years, the album is a snapshot taken by a band who are accelerating towards real success and recognition.

'I’m glad we finally have a body of work that we’re proud of and feels like a collection of songs that nicely represents where we are right now. It’s organised chaos and shows that we like to play, but can also write a catchy tune.' – Calvin

Launching into proceedings with the effortlessly uplifting 'Take Me To The Floor', every track is a demonstration of the band’s technical prowess and broad sonic palette. A forward-facing selection of completely original material, the album also gave the band the opportunity to re-imagine fan-favourite 'Sharpen Up' as a stripped-back cut that reflects the band’s current lineup.

'Honestly, I kinda feel like I could explode with excitement about getting it out for everyone in the world to hear because it has been a long time in the making! A culmination of what all the singles have been working towards! I guess the album represents us and the direction we’re taking the music, it represents us as a trio and the gel that is High Fade.' – Oli

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band.

The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

The Beatles 1962 – 1966 & The Beatles 1967 – 1970 (2023 Edition) 6LP BLACK

These landmark compilations have introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collections have been expanded: ‘Red’ has 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. ‘Blue’ has 9 additional tracks including “Blackbird” and “Glass Onion” including the last new Beatles song, “Now And Then” for a total of 21 new additions which are all compiled onto the 3rd disc, effectively creating a ‘new’ LP for each set.

Together the 6LP’s contain 75 tracks, 36 of which have new mixes for 2023. The inserts contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 & 1967 - 1970 collections are a joyous celebration of The Beatles’ timeless musical legacy.

Footshooter is the moniker of Barney Whittaker, a south London-based producer and DJ. His production style takes in influences from broken beat, jazz, house and more, working with rappers, poets and vocalists to create a soulful sound referencing the past while being firmly future-facing in its approach. His records as Footshooter and SAUL have earned airplay and support on BBC Radio 1 & 1xtra, BBC 6 Music, NTS Radio, Jazz FM and Rinse FM, from the likes of Gilles Peterson, Bradley Zero, Errol (Touching Bass), Alex Nut (Eglo Records) Shy One, Virgil Abloh, Zakia, Jyoti, Nabihah Iqbal, Bonobo, Jamz Supernova, Maryanne Hobbs, Mr Scruff and more.

His musically diverse live band sets and DJ sets over the past seven years have taken him to Boiler Room London, Tate Modern, Alexandra Palace, The Jazz Cafe and the Barbican Centre, as well as performances at Brainchild, We Out Here and Love Supreme Festivals. A Balamii Radio resident for the past 5 years with his monthly show 'Sonic Fruits', Footshooter's DJ sets are as versatile and wide ranging as his production credits, spanning the finest soulful house, broken beat, UK Rap, soul, jazz and beyond.

"This is the sound of London right now, and it is fantastic" - Juno Records

Gatefold 2LP

Far Out Recordings proudly presents a landmark discovery in Brazilian jazz: the long lost album by drumming pioneer Edison Machado. Recorded in New York City in early 1978 but never released, Edison Machado & Boa Nova captures a pivotal figure in Brazilian music history at the height of his artistic powers.

Combining North and South American jazz traditions with Machado's revolutionary samba innovations, Edison Machado & Boa Nova represents a triumph against the odds. After facing persecution under Brazil's military dictatorship and being forced to sell his drum kit in 1976, Machado found renewed creative purpose in New York with the Boa Nova ensemble. The resulting album captures the essence of his genius - sophisticated yet wild, controlled yet daring, leading an ensemble of some of the best jazz, samba and bossa nova players of the day.

At just fifteen years old, Machado revolutionized Brazilian music through an accident that would change everything - when his snare drum broke during a performance, he began playing samba rhythms on the cymbal. This innovation, known as "samba no prato" (samba on the cymbals), brought new layers of dynamism to samba and proved instrumental in the development of bossa nova alongside contemporaries like Antonio Carlos Jobim and João Gilberto.

A complex and passionate figure, Machado was notorious for his militant perfectionism and "attacking" style of drumming. Having spent some years of his youth in the Brazilian army, musicians often remarked that he played as if he were at war. But his innovative style, while exhibiting complete control and sophistication, somehow so often danced right on the edge of chaos and wild abandon.

After making his name in Rio's legendary Beco das Garrafas (Bottles Alley) in the 1950s and early '60s, Machado went on to form Bossa Três - the world's first instrumental bossa nova group. His influence spread internationally through collaborations with Stan Getz, Sergio Mendes, Antônio Carlos Jobim, Milton Nascimento, and Chet Baker, while his 1964 album Edison Machado É Samba Novo stands as a masterpiece of Brazilian jazz.

At 80 minutes in length, Edison Machado & Boa Nova, the lost 1978 New York sessions, is a singular achievement in Brazilian jazz. The format itself is a rarity in the canon. It’s packed full of exceptional technical precision and creative vitality, with sophisticated arrangements and masterful improvisation from its exceptional sextet of Brazilian and US musicians: Paulinho Trompete (flugelhorn/trumpet), Ion Muniz (tenor saxophone), Steve Sacks (baritone saxophone), Mozar Terra (piano), and Ricardo dos Santos (double bass).

The album features unheard compositions by Brazilian masters Dom Salvador (Salvador Trio, Harry Belafonte, Edu Lobo), Guilherme Vergueiro (Raul De Souza, Leon Ware, Joyce), Aloisio Aguiar (Arthur Verocai, Airto) amidst the plethora of captivating original material by the members of the Boa Nova ensemble.

Legendary songwriter Guy Clark’s iconic album, Dublin Blues, shines in a new light with this remixed and remastered reissue. The album was remixed by Miles Wilkinson, its original co-producer and engineer, at Compass Sound Studio in Nashville (formerly Glaser Sound Studio, aka “Hillbilly Central”). It includes liner notes written by Wilkinson and Clark’s former touring partner, the acclaimed singer-songwriter Darrell Scott. Featuring Sam Bush, Travis Clark, Donivan Cowart, Rodney Crowell, Ramblin’ Jack Elliott, Nanci Griffith, Emmylou Harris, Jelly Roll Johnson, Kenny Malone, Kathy Mattea, Suzi Ragsdale, Darrell Scott, Verlon Thompson, Jonathan Yudkin.

Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. Overseas success also came Browns way with crossover hits like the massive ‘Money In My Pocket’. He will always be fondly remembered on the sound systems across the caribbean as the Crown Prince of Reggae.

Dennis Brown (b Dennis Emanuel Brown,1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodds Studio One stable. His first hit in 1969 a cover of Van Dykes ‘No Man Is An Island’ still stands the tests of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and
studio’s perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. Where many of the other producers stayed with the tried and tested Lovers Rock formula that did prove so popular with Dennis’s voice, producer Niney the Observer as he is fondly called, pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.

Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ‘Here I Come’ (a live favourite that Dennis always liked to start his set with) and ‘Children of Israel’ made these both strong roots era albums.

We have stayed with this period for our Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit ‘Money In My Pocket’ (1979) produced by Niney but often credited as a Joe Gibbs production as it was released (and sweetened by adding Orchestration for the foreign market place) on his label. By the way this is the original Jamaican version (unsweetened) that you will find on this album a more truthful version in our humble opinion. His voice reigns supreme across these Niney produced cuts ‘Smile like An Angel’ ‘Silver Words’, ‘Play Girl’ and the fantastic ‘Poor Side Of Town’ (helped along by the great harmonies of the Heptones group), ‘Tribulation’ and ‘We Will Be Free’. Dennis Brown’s prolific catalogue of tunes that also found an outlet on his own DEB inprint (named after his initials) stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself...Tribulation Times indeed and long may the records of the Crown Prince of Reggae Dennis Brown rule the world.....

Zwei Jahre nach dem letzten Album 'Trigger', das von Fans und Kritikern unisono gelobt wurde, melden sich The Mobile Homes mit ihrem neuen Album "Tristesse" zurück. Auf 'Tristesse' verfeinern die schwedischen Elektro-Pop-Urgesteine ihren bewährten Sound zur Perfektion. Inklusive Gastauftritt von Bon Harris (Nitzer Ebb) bei dem Song 'Throne'. Ein schönes und dunkles Album voller Traurigkeit und Schönheit. Eine absolute Empfehlung für alle Depeche Mode-, New Order-, The Cure- und Synth-POP-Fans!

The 2 Tone sound was a great period in the aftermath of Punk and included influences taken from Jamaican Ska.

Mal-One had already worked on some Two Tone collages and had them put aside for some future project. He thought it would be fun to record some tracks related to these images and sounds. The first track he recorded was an instrumental track in the style of Harry J All Stars ‘Liquidator’ which he called ‘Rude Boy Shuffle’. Initially to be put out as a stand alone track on some reggae label of some sort. He had a poem already which he called ‘Two Tone Story’, so put that on top of the ‘Ska Train Is Back In Town’ rhythm which he had put together for another song of that name. Finally ‘Rude Boys and Rude Girls Listen Up! ‘came together.

Adding to this a couple of dub mixes and we have a 6 track 12”. Mal-One thought the artwork worked better on a 12” format.

Hope you enjoy the outcome.

Letters from the Atlantic displays a seamless blend of jazz, house, indie, funk, R&B, soul, bossa nova, and more. The band elevates to a new level of sophistication with their genre defying approach, while featuring numerous female guest artists: Yaya Bey, Melanie Charles, Leanor Wolf, Mia Gladstone, Victoria Victoria, along with Nicholas Payton and Neal Francis. With the new album, the band ventures closer to a indie vibe, rather than the hip-hop style displayed on Solar Music (2023). The Richmond, Virginia based collective consists of friends and bandmates Corey Fonville (drums), Andrew Randazzo (bass), Morgan Burrs (guitar), Marcus “Tennishu” Tenney (trumpet, saxophone, vocals) and Devonne “DJ Harrison” Harris (multi-instrumentalist), who make music that is as diverse as their own varied tastes and backgrounds.



Butcher Brown has a storied touring history having played many of the world biggest and most prestigious festivals including Afropunk, Pitchfork Festival, Monterey Jazz, and more have toured with the likes of Pink Siifu, Tom Misch, Galactic, Lettuce, and Kamasi Washington. In support of Letters From the Atlantic, Butcher Brown has plotted headline tour dates across North America in spring of 2025 followed by an extended European festival tour this summer.

Im Lateinischen bedeutet das Wort Gemini "zwei zusammen" oder "Zwillinge". Astrologisch gesehen sind Zwillinge unter anderem dafür bekannt, dass sie neugierig und vielseitig sind. Für die 9-köpfige (meist) instrumentale Combo The Sure Fire Soul Ensemble aus San Diego waren Jazz und Funk schon immer die beiden Genres, die sie konsequent und effektiv miteinander verschmolzen haben und die das Fundament ihres Sounds bilden. Mit ihrer stilistischen Neugier und Vielseitigkeit haben sie dieses Fundament auf ihrem neuen 11-Song-Longplayer für Colemine Records weiter ausgebaut. Aufgenommen zwischen Ende 2021 und Anfang 2024 im The Kitchen II in ihrer Heimat Lemon Grove, Kalifornien, lenken SFSE ihre ,introspektive Partymusik" in neue klangliche Gefilde. Während ihr Breakbeat-lastiger Funk-Soul-Jazz immer noch der Eckpfeiler ihres Sounds ist, wie er in Stücken wie ,Makin' Moves", ,TheGrifter" und ,Don't Trip" zum Ausdruck kommt, haben sie begonnen, mehr und mehr Einflüsse von Library-Musik-Labels wie KPM Music, spirituell orientierten Jazz-Labels wie Tribe & Black Jazz Records und exotisch angehauchten Jazz-Künstlern wie Cal Tjader und Dorothy Ashby aufzunehmen. Jetzt lehnen sie sich mehr an den ,introspektiven" Teil ihres Sounds an, insbesondere bei ,Mother Earth", ,Freddie" und dem Titeltrack, und beschwören die Geister von Freddie Hubbard, Phil Ranelin, Wendell Harrison, Bubbha Thomas, Chester Thompson und sogar Cannonball Adderley in seiner kopflastigsten und kosmischsten Zeit herauf (hören Sie sich Adderleys Alben ,Soul Zodiac" und ,Soul of The Bible" als Referenz an). ,Corporatocracy" geht noch einen Schritt weiter mit einem ausgedehnten Tabla-Solo, das auf der perkussiven Welle reitet, bevor es in seinen funkgetriebenen, modalen Vibe übergeht. In der aktuellen Besetzung mit Tim Felten an den Tasten, Jake Najor am Schlagzeug, Omar Lopez am Bass, Kiko Cornejo Jr. an Conga/Percussion, Aquiles ,Lito" Magana an der Gitarre, Wili Fleming an der Posaune, Sheryll Felten an der Percussion, und Jesse Audelo und Travis Klein am Saxophon und an der Flöte. SFSE bleibt dem Funk treu, traut sich aber auch, neue Wege zu gehen, die sie bisher noch nicht beschritten haben, und betritt damit faszinierendes Neuland in ihrem Gesamtsound.

Im Lateinischen bedeutet das Wort Gemini "zwei zusammen" oder "Zwillinge". Astrologisch gesehen sind Zwillinge unter anderem dafür bekannt, dass sie neugierig und vielseitig sind. Für die 9-köpfige (meist) instrumentale Combo The Sure Fire Soul Ensemble aus San Diego waren Jazz und Funk schon immer die beiden Genres, die sie konsequent und effektiv miteinander verschmolzen haben und die das Fundament ihres Sounds bilden. Mit ihrer stilistischen Neugier und Vielseitigkeit haben sie dieses Fundament auf ihrem neuen 11-Song-Longplayer für Colemine Records weiter ausgebaut. Aufgenommen zwischen Ende 2021 und Anfang 2024 im The Kitchen II in ihrer Heimat Lemon Grove, Kalifornien, lenken SFSE ihre ,introspektive Partymusik" in neue klangliche Gefilde. Während ihr Breakbeat-lastiger Funk-Soul-Jazz immer noch der Eckpfeiler ihres Sounds ist, wie er in Stücken wie ,Makin' Moves", ,TheGrifter" und ,Don't Trip" zum Ausdruck kommt, haben sie begonnen, mehr und mehr Einflüsse von Library-Musik-Labels wie KPM Music, spirituell orientierten Jazz-Labels wie Tribe & Black Jazz Records und exotisch angehauchten Jazz-Künstlern wie Cal Tjader und Dorothy Ashby aufzunehmen. Jetzt lehnen sie sich mehr an den ,introspektiven" Teil ihres Sounds an, insbesondere bei ,Mother Earth", ,Freddie" und dem Titeltrack, und beschwören die Geister von Freddie Hubbard, Phil Ranelin, Wendell Harrison, Bubbha Thomas, Chester Thompson und sogar Cannonball Adderley in seiner kopflastigsten und kosmischsten Zeit herauf (hören Sie sich Adderleys Alben ,Soul Zodiac" und ,Soul of The Bible" als Referenz an). ,Corporatocracy" geht noch einen Schritt weiter mit einem ausgedehnten Tabla-Solo, das auf der perkussiven Welle reitet, bevor es in seinen funkgetriebenen, modalen Vibe übergeht. In der aktuellen Besetzung mit Tim Felten an den Tasten, Jake Najor am Schlagzeug, Omar Lopez am Bass, Kiko Cornejo Jr. an Conga/Percussion, Aquiles ,Lito" Magana an der Gitarre, Wili Fleming an der Posaune, Sheryll Felten an der Percussion, und Jesse Audelo und Travis Klein am Saxophon und an der Flöte. SFSE bleibt dem Funk treu, traut sich aber auch, neue Wege zu gehen, die sie bisher noch nicht beschritten haben, und betritt damit faszinierendes Neuland in ihrem Gesamtsound.

In their new album Bagola, Trio Da Kali present newly composed songs accompanied on balafon and ngoniba, that provide a rich accompaniment to the spectacular voice of Hawa Kasse Mady Diabaté. She inherits her singing style from her father, the late Kasse Mady Diabaté, who was widely recognized as one of Africa"s all-time greatest singers and won a Grammy nomination in 2004. Hawa"s voice has an exquisite purity and expressiveness, with a wide emotional range. She is equally at home in the lively, 9/8 rhythms of the title track Bagola, a light-hearted critique of men in Malian society, to the soulful Orpaillage, a song that laments the destruction of land from gold-panning. Orpaillage was in fact composed on the spot in the studio, reflecting the creative chemistry between these three musicians. The musical director of the trio is balafon (xylophone) player Lassana Diabaté, born in Guinea into a well-known family of balafon musicians. His remarkable dexterity on the balafon earned him a place in Toumani Diabaté"s Symmetric Orchestra, and later on in the group Afrocubism (featuring Eliades Ochoa). He has collaborated with many musicians, including bluesman Taj Mahal on the album Kulanjan. With two balafons of 22 rosewood keys each, tuned to play chromatic scales, Lassana Diabaté achieves a perfect balance of rhythm, melody, harmony and virtuosic embellishment. David Harrington, leader of Kronos Quartet, compares him to none other than JS Bach. Underpinning the balafon with compulsive groove, is the large ngoniba, played with brilliant musicality by Madou Kouyaté (son of Bassekou Kouyaté and member of his group Ngoniba). Madou, the youngest member of Trio Da Kali, also adds rich harmonies with his deep breathy voice to the songs. Trio Da Kali were founded in 2013 under the initiative of the Aga Khan Music Programme, with the help of three-times Grammy-nominated music producer Lucy Durán. The Trio first rose to international fame with their sublime album Ladilikan (World Circuit Records 2017), featuring an unprecedented and multi-award-winning collaboration with Kronos Quartet, the legendary classical string quartet from San Francisco. Bagola is a showcase of Trio Da Kali"s entrancing and unique sound, only equaled by their magical performances on stage.

1-800 FANTASY is the third studio album from producer, artist, and visionary, BLK ODYSSY. In what represents somewhat of a sonic shift for BLK ODYSSY - from the dark, brooding blend of R&B & G-Funk to a brighter, warmer and more upbeat Alternative leaning sound - the concept album tells a coming of age story of a teenage boy in the 90s navigating the unfamiliarities of love and lust. The 13-track album includes the previously released singles, “WANT YOU,” “XXX (feat. Wiz Khalifa),” “STANK ROSE (feat. Joey Bada$$),” & “CHANGES” - as well the song, “PHASE,” which was premiered via COLORS. This latest project marks a pivotal moment in BLK’s career, cementing his role as a forward-thinking artist who continues to push the boundaries of R&B and beyond. “Between exploring a new level of storytelling and also a new world of production and songwriting, this record has been a new chapter for me as an artist.” BLK ODYSSY says about the new album. Pressed on Baby Blue Galaxy vinyl, includes double sided insert.

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

Bristol label-turned-blog Innate launches a new sub-label, Innate Editions, which it says is dedicated to timeless UK techno, IDM, electro and ambient music, and it will all come on heavyweight vinyl. The first release revives Connective Zone's Palm Palm, a millennium-era cult classic and Ben UFO favourite that first came out on Mark Broom and Dave Hill's Unexplored Beats in 2001. Now, this long-out-of-print, expensive and hard to find gem has been remastered by Jamie Anderson and so sounds superb with many lavish electronic layers, richly emotive melodies and dynamic drums that lean on UK techno, IDM, and deep electro. Sounds as good now as it ever did.

DJ Feedback

Dan Curtin (Metamorphic):
"This sounds fantastic. I don't think I ever got it back when it came out but I'm glad I do now, it's really nice. Every track is the standout track!"

Dj Harri (Sub Club):
"Lovely stuff here, will be playing and supporting."

Laurent Garnier (COD3QR):
"Awesome 4 tracker, thanks a million times for this. Beautiful way to start a new label."

Midland:
"Thanks for sending this over. Really in to it, Function especially."

Mr Scruff (Ninja Tune):
"Thanks for this! Didn’t know this release. Function is great. Quite like Returned too."

“One of the most compelling and complex releases of Lee ‘Scratch’ Perry’s post-Black Ark canon, Mercy is the fruit of a long and complex working process that has yielded exceptional results. Spearheaded by the maverick artist and musical outlier Peter Harris with Fritz Catlin, the drumming co-founder of industrial funk dub act, 23 Skidoo, Mercy’s experimental sonic occupies its own space.” David Katz (People Funny Boy: The Genius of Lee “Scratch” Perry).

Dash the Henge are excited to announce the vinyl release of Mercy an innovative record featuring the legendary Lee ‘Scratch’ Perry and the work of Peter Harris and Fritz Catlin. It will be preceded by vibrant visual representations of key tracks ‘Reggae Poison’, ’Row Fisherman/Whale Song’ and ‘This is Hell’ created by Peter Harris and Llyr Williams. “I always saw Lee as a performance artist rather than a musician in the traditional sense, so this conceptual backing feels like a more accurate setting for his stream of conscious performance art,” Peter Harris explained. “There is an attention to Lee’s history here too, something that elevates the musical collage with the echoes informed by albums like Super Ape where earlier tracks were recorded over again. In ‘Big Fish,’ the lyrics pay homage to Bob Marley’s ‘Small Axe’ and the tune references Perry’s version of ‘Sugar Sugar,’ which he recorded with the Silvertones. Although the structure might seem chaotic, the songs were crafted over a long period of time and the approach was the same as making a painting, where foundations are worked on then painted over and over until it is full wrested.” Nathan Saoudi (founder Dash The Henge/Fat White Family) boils it down. “It’s kind of quintessential outsider music - I can’t explain what they are doing, but they have a why, and that’s enough. That’s why I needed to get involved.”

Seit mehr als einem Vierteljahrhundert lärmt sich Sänger und Gitarrist Harry Armstrong in verschiedenen Bands durch die britische Musikszene: ORANGE GOBLIN, DECOMPOSED, HANGNAIL, END OF LEVEL BOSS, THE WINCHESTER CLUB, EARLS OF MARS, BLIND RIVER_um nur einige zu nennen. Am 21. März 2025 folgt nun endlich das langersehnte zweite Album von NOISEPICKER auf Exile On Mainstream. Nach dem 2018 veröffentlichten Erstling war es zwar nicht wirklich ruhig geworden um die Zweimann-Band mit Kieran Murphy (u.a. COLD COMFORTS, PAIGE KENNEDY), verschiedene Verpflichtungen wie z.B. der extensive Tour-Schedule von Orange Goblin, ließen wenig Zeit für Studioaufnahmen. Doch nun ist es soweit. Nachdem NOISEPICKER auf dem EOM25-Festival im Mai 2024 bereits erste neue Songs vorstellten, ging es kurz danach ins Studio. The Earth Will Swallow The Sun ist das Ergebnis und überrascht mit einem Sound, den Peace Off 2018 bereits vorwegnahm, der aber nun zu voller Blüte gereift ist. Auf der Basis von Blues und Noise erschaffen Noisepicker etwas völlig eigenständiges, mit deutlichen akustischen Verweisen an Tom Waits ebenso wie an The Jesus Lizard. Inhaltlich ist das Album eine Abrechnung mit politischen und gesellschaftlichen Themen, die uns aktuell beschäftigen und die Ohnmacht, unterdrückte Wut ebenso illustrieren wie die Möglichkeit eines Ausbrechens, ohne in blinden Aktionismus zu verfallen. Hier ist nichts poliert, perfekt oder konstruiert. Stattdessen sind NOISEPICKER laut, authentisch und ständig im Wandel, beeinflusst von allem, was Doom, Punk und Blues ist. Und diese Herangehensweise kanalisieren sie in Songs, die emotional, catchy und einzigartig sind.