500 only pressed. 80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7”. Taken from their forthcoming album, Viva Lone Justice, ‘Teenage Kicks’ is a rambunctious slice of punk angst that sounds like it was recorded in one take. It’s a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey’s only solo hit ‘A Good Heart’, Lone Justice cover The Undertones’ Peel-approved favourite with the artwork of the single being a nod to the original. “As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice").” Backed with ‘Nothing Can Stop My Loving You’ that’s cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. “Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // “A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State.
Michael Bublés Album aus dem Jahr 2009 ist auf
limitiertem Lemonade Yellow Vinyl erhältlich.
Der mehrfache Grammy-Preisträger nimmt 11 Standards
plus zwei neue Originale als ultimative Platte über die
unvermeidliche Achterbahnfahrt der Beziehungen auf.
Mit "Haven't Met You Yet", "Cry Me a River", "You're
Nobody Till Somebody Loves You" und mehr, produziert
von David Foster, Bob Rock und Humberto Gatica.
j b3 - Baby (You've Got What It Takes) [with Sharon Jones
[j] b3 - Baby (You've Got What It Takes) [with Sharon Jones
Innercity Griots, the second album from Freestyle Fellowship, is perhaps *the* essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz.
The original single vinyl LP is now hideously scarce, and of course the sound suffers from not being officially released as a double. This Be With re-issue fixes both problems, and for completeness also includes “Pure Thought” from the CD version of the album. This incredible display of imaginative hip-hop sounds better than ever.
Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter - along with DJ Kiilu - forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic.
Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo.
With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody. Their innate jazziness felt tangible and hard-earned”.
The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism.
Remastered by Simon Francis for double vinyl and cut by Pete Norman, we hope this long-overdue re-issue of Innercity Griots satisfies the legions of fans that have since been bewitched by the majesty of this record. It should also introduce some new listeners to yet another overlooked classic.
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Remastered Re-Release des 2006er Albums des belgischen Synth-Pop-Trios, auf dem Telex bewiesen, dass sie nicht nur mit der Zeit Schritt halten konnten, sondern sogar an den technischen Entwicklungen der Musikwelt wachsen konnten.
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After gaining recognition both in the Korean indie scene and abroad as vocalist/guitarist of Vidulgi OoyoO (shoegaze/post rock) and guitarist of JuckJuck Grunzie(noise/psychedelic), Ham relocated to Chicago where she began experimenting with home recording. In 2019, she released an EP comprised of intimate acoustic compositions under the name Sophysoon.
With Home in the Desert, Ham embraces the solitary action and lo-fi aesthetics of home recording to create a fuzzier, more expansive sound, inspired by the organized noise of bands she grew up with in Korea's indie scene. Home in the Desert, written and recorded in her apartment between 2021-2022, developed out of Ham's attempts to envision how skeletal guitar lines might sound when performed live at ear-splitting volumes by a full band. “I never expected that I would make loud music again, but one day I took my guitar out and started jamming on my own.“
As its title suggests, Precocious Neophyte's debut release negotiates the impossible longings for perpetual spaces and times of home. In doing so, Ham fills unstable distances with what KEXP calls "ethereal vocals and soaring melodies," and cradles the insecurities of isolation in overdrive warmth and many layers of distorted guitars.
pätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.
In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“
Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.
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Last delivered 2 years ago available to reorder, subject to availability
pätestens jetzt mit der Veröffentlichung ihres dritten Albums 'X's' stehen Cigarettes After Sex im Zentrum der Aufmerksamkeit nicht nur als eine der herausragenden Indie-Bands der Gegenwart, sondern überhaupt als eine der weltweit erfolgreichsten Bands egal welchen Genres, deren oft unkonventioneller Weg zum Superstartum dazu beigetragen hat, die Definition von Erfolg für Künstler in der heutigen Zeit neu zu definieren.
In rohen, fantasievollen, manchmal schmutzigen Vignetten, die von hinreißenden, langsam vor sich hinschreitenden Popsongs untermalt werden, fängt Bandleader Greg Gonzalez alle Emotionen ein, die eine romantische Beziehung hervorruft. Doch während frühere Alben aus einem Sammelsurium von Beziehungen schöpften, konzentriert sich das dritte Album 'X's' auf eine einzige Beziehung, die sich über vier Jahre erstreckte. "Die Platte fühlt sich brutal an", gibt Gonzalez zu. "Ich könnte mich hinsetzen und mit jemandem über diesen Verlust reden, aber das würde nicht mal an der Oberfläche kratzen. Ich muss wirklich darüber schreiben, darüber singen, die Musik dazu haben, erst dann kann ich anfangen, es zu analysieren und daraus zu lernen. Oder ich erlebe es einfach noch einmal - auf eine gute Art und Weise.“
Gonzalez hält sich nach wie vor an die klassischen Strukturen des Popsongs, hat sich aber von den klanglichen Eckpfeilern der 50er und 60er Jahre entfernt und fühlt sich nun vom Slow Dance der 70er/80er Jahre angezogen. Auch wenn diese Veränderungen (in typischer Cigarettes-Manier) subtil sein mögen, so ist das Resultat doch eine andere Energie, eher vergleichbar mit Tränen, die sich in der Discokugel brechen, um ein starkes Bild zu bemühen.
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Braulio Lam's Close-Up is a captivating soundscape that blurs the lines between music and photography.
Hailing from the border region between San Diego and Tijuana, Lam's inspiration stems from the vibrant cultural exchange and diverse musical traditions of the area. His creativity as a music producer and photographer converges seamlessly into this album, where he manipulates images and sounds, using light as a catalyst for his sonic experiments.
The album's eight tracks showcase Lam's eclectic sonic palette, ranging from electronica and dub techno to ambient and trip hop. The opening track, "Prologue," sets the stage with a haunting guitar echo and a spacious, downtempo beat. Angelic vocals float ethereal over the sonic backdrop, creating a sense of scenic grandeur. "Cinestill" immerses listeners in a sub-aquatic realm with its slow-pulsing beat and cavernous ambiance. "Buena Vista Social Dub" captivates with its sensual vocals, echoing drums, and hypnotic melody.
"Monika" evokes a sense of beachy tranquility with its electric guitar and ambient soundscapes, while "Mirror" transports listeners into an atmospheric swirl of broken beats and ambient textures. "Eastman" delves into the depths of dub techno, its hypnotic chords and airy soundscapes creating an otherworldly atmosphere. "Winter Light," showcases Lam's mastery of minimalism. Field recordings of natural sounds, sparse guitar plucks, and evocative imagery paint a stark but beautiful soundscape that lingers long after the music has faded. "Tiffen" closes the album on a serene note, its gentle island rhythms and floaty textures inviting listeners to relax and unwind.
Overall, Close-Up is a testament to Braulio Lam's boundless creativity and artistry. Its unique fusion of musical styles, experimental sonic textures, and evocative imagery makes it an immersive and captivating listening experience that transports listeners to a realm where the senses intertwine.
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Dive into the abyss with Swedish Stillborn's latest masterpiece: "Netherworlds".
Following the monumental success of their previous album "Nocturnals", the band unleashes an even darker opus that pays homage to their cult classic "Necrospirituals" while carving out new realms of sonic exploration. With "Netherworlds", Stillborn propels their distinctive sound to new heights, crafting songs that are both hauntingly beautiful and crushingly heavy.
Experience the chilling atmospheres and gripping melodies as Stillborn takes you on a journey through the depths of the unknown. The production on "Netherworlds" has a sharper edge and more refined, ensuring that every riff, every chord, resonates with bone-shaking clarity.
Prepare to be mesmerized by the sinister allure of "Netherworlds". Embrace the darkness and join Stillborn on their relentless quest to redefine gothic metal. Don't miss out on this monumental release that will leave an indelible mark on the genre.
Dive into the abyss with Swedish Stillborn's latest masterpiece: "Netherworlds".
Following the monumental success of their previous album "Nocturnals", the band unleashes an even darker opus that pays homage to their cult classic "Necrospirituals" while carving out new realms of sonic exploration. With "Netherworlds", Stillborn propels their distinctive sound to new heights, crafting songs that are both hauntingly beautiful and crushingly heavy.
Experience the chilling atmospheres and gripping melodies as Stillborn takes you on a journey through the depths of the unknown. The production on "Netherworlds" has a sharper edge and more refined, ensuring that every riff, every chord, resonates with bone-shaking clarity.
Prepare to be mesmerized by the sinister allure of "Netherworlds". Embrace the darkness and join Stillborn on their relentless quest to redefine gothic metal. Don't miss out on this monumental release that will leave an indelible mark on the genre.
Zum ersten Mal in ihrer Karriere werden ODESZA Live-Versionen ihrer Songs als ein zusammenhängendes Album veröffentlichen, das die fast unbeschreibliche Magie ihrer ausgedehnten und eindringlichen Konzerterfahrung zum Leben erweckt. Das Album wird auf 3LP Ghostly Clear Vinyl in einem maßgeschneiderten Trifold-Sleeve mit einer Ausstanzung in der Mitte erscheinen. Das Paket enthält drei austauschbare, matt lackierte Innenhüllen, die es den Fans ermöglichen, ihr eigenes Cover zu wählen. Vorbestellungen sind ab sofort im ODESZA-Store möglich. Produziert von ODESZA (bestehend aus Harrison Mills und Clayton Knight), wurde „The Last Goodbye Tour Live“ während ihrer monumentalen „The Last Goodbye Tour“ 2022 und '23 aufgenommen, der ersten Amphitheater-Tournee, die jemals von einer elektronischen Band unternommen wurde. Fast jeder Song wurde für die Live-Show überarbeitet und neu arrangiert, und die Kreativität und der Einfallsreichtum von ODESZA sind auf dem Album deutlich zu hören. „The Last Goodbye Tour Live“ ist komplett mit der bekannten ODESZA-Drumline, zwei Bläser:innen und einer wechselnden Besetzung von Sänger:innen wie Naomi Wild, Sudan Archives, Izzy Bizu, MARO, Mansionair und Charlie Houston. Das kommende Live-Album wird zeigen, warum ODESZA zu einem Live-Musik-Muss geworden sind, da sie in den letzten Jahren als Headliner bei fast jedem großen US-Musikfestival aufgetreten sind (einschließlich Lollapalooza, Bonnaroo, Outside Lands, Austin City Limits, Electric Forest, Governors Ball Music Festival und anderen). Das Live-Album wird vor der großen „The Last Goodbye Tour“-Finale von ODESZA erscheinen, das diesen Sommer stattfindet und das unglaubliche aktuelle Kapitel ihrer Karriere mit einem großen Höhepunkt beenden, mit zahlreichen Terminen, von denen viele ausverkauft sind, in kultigen Venues wie Madison Square Garden, The Greek Theatre Berkeley, BMO Stadium, The Gorge und Folsom Field.
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"Everyone you love will end up dead," Isaiah Neal sings on "Ivy Tech," the second track from Leisure Hour's upcoming The Sunny Side. It's a matter-of-fact lyrics delivered in a matter-of-fact way - but a second later, Grace Dudas and Raegan Gordon join in to harmonize on a booming "whoa-oh-oh-oh" chorus. In the span of about three seconds, Leisure Hour's whole ethos becomes clear. The Sunny Side is the result of years of writing and recording, the culmination of a half-decade of lineup changes; by now, Leisure Hour's reached their final form: bassist/vocalist Dudas, guitarist/vocalist Neal, and drummer/vocalist Gordon. The Sunny Side, according to the band, is about "love, loss, and struggle with mental health as a middle class individual," and maybe it was a case of life mimicking art. The three of them struggled to come up with enough money to record and produce these songs the way they envisioned; they picked up extra shifts at their jobs and, in true DIY fashion, decided to throw as many music festivals as they could to drum up enough cash to bring these songs to life, and "the community around us rallied together to make this album happen, and for that we are eternally grateful." That gratitude is the driving force behind The Sunny Side. The eleven songs that comprise the record are built on shaky hopes and the anticipation of disappointment, but along with that comes a teeth-gritting resilience and a hard-won appreciation for those small victories. "I can't forgive you," Dudas sings at the end of "Forgiveness," but she follows it quickly with "But I'm trying to," and then she repeats it over and over. Maybe she's just trying to convince herself, but it's the effort that matters. Leisure Hour won't stop looking on the sunny side anytime soon, and they're trying their damnedest to convince you to do the same.
Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.
Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.
- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart
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Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.
Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.
- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart
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Last delivered 2 years ago available to reorder, subject to availability
Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.
Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.
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Introducing X-Ray Ted's debut album 'Moving On', a testament to years spent honing his craft and refining his signature sound. Seamlessly blending Funk, Soul, Hip Hop, Beats and Breaks, X-Ray Ted delivers a collection that encapsulates his diverse influences as both a producer and turntablist who is endlessly crate digging for hidden gems. From the infectious opening guitar riff to the final beat, it is clear that 'Moving On' promises an experience that is as engaging as it is dancefloor focused. Each track showcases X-Ray Ted's innate ability to re-interpret vintage sounds from decades past, offering listeners something that is both alluringly familiar and refreshingly new.
X-Ray Ted is not alone in creating his musical vision. He is joined by Hip Hop royalty in the form Jungle Brother's Afrika Baby Bam, Jurassic 5's Fullee Love (AKA Soup), and UK MCs Dr Syntax and Professor Elemental. Adding soulful depth and irresistible hooks to the mix are the vocals from fellow Bristolian Carys Abigail. Together, they effortlessly bridge the gap between retro 60's vibes and contemporary beats, creating something that is truly timeless, celebrating the past while embracing the future.
d 04: Get out the House (Dirty Version) feat. Afrika Baby Bam
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"1996-97? Yeah, that’s when New York was still NEW YORK!
That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!
There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.
When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...
Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!
And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!
A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"
- DJ Romain
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Last delivered 13 months ago available to reorder, subject to availability
Limited edition "Coke Bottle Cloud" color vinyl with etched b-side. Australian duo Armlock make music for having your head in the clouds. On new album Seashell Angel Lucky Charm, Simon Lam and Hamish Mitchell bring you on a steady ascension through compressed and heavenly sonic realms. The band's second proper release, and first for Run For Cover Records, showcases the songwriters' experimental electronic roots through an indie rock lens. Free from distortion or overindulgence, Seashell Angel Lucky Charm is a collection of consistent rhythms decorated with clean guitar tones and eccentricities. Through playful layers of vocal harmony and minimal arrangements, Armlock capture the inventive and uncomplicated essence of Pinback or Alex G. Self-described as "indie rock with a touch of spirituality and emo", Armlock's journey into a higher realm is seeped with the looming confusion that comes with exploring the unknown. With an introverted demeanor, Armlock explores the human desire to find guidance in a world much bigger than its people. Every sound on Seashell Angel Lucky Charm feels precise and intentional, making the anthemic choruses on tracks like "Fear" and "El Oh Ve Ee'' feel expertly placed and pop-oriented. These two songs show Armlock's savvy with harmony as they use octaves of angelic sounds to stretch a simple one-word chorus until it soars with meaning. Unlike most indie rockers, Armlock use guitar as a tool in their belt rather than a vessel for songwriting. Where their 2021 EP Trust set foundations in downtempo acoustic guitar, Lam and Mitchell's evolved songwriting is a testament to where an electric guitar can amplify a song's groove, or usher in sonic space.
Raw, heavy, aggressive and at times genuinely creepy, Kent metallers Graphic Nature are one of the most energized and exciting new bands to emerge from the British metal scene in years. Taking their name from a track on Deftones’ Koi No Yokan album, in 2019 Graphic Nature announced themselves with the single Grit, and immediately began carving a name for themselves as a ferocious new force in British metal. With their first EP new skin, mixing moments of snarling nu-metal and the scalding fury of Slipknot’s debut album with instrumental passages that at times recall the genius of Nine Inch Nails’ Trent Reznor, they have found their sonic identity, the band released their first LP in 2023, produced by Sam Bloor. As the band continues to rise Things are only going to get bigger. Graphic Nature are here to stay!
INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.
''Sulla Rotta Dei Venti'' (On the Route of the Winds) is the brand-new album of Italian ska-jazz maestros North East Ska*Jazz Orchestra (NESJO). A collection of eleven own-penned original tracks, written and composed between 2020 and 2023, that frames a new chapter in the ten-year career of the band. In this record, NESJO bravely explores other worlds through music, which, as we know, is always also an inner quest. It is at the same time an effort to place their own music at the centre of the time and space in which they live, even at the cost of going beyond the stylistic limits linked to the band's chosen musical genre. Although, these new 11 cuts are built around rhythms that are undeniably of Jamaican origin, melodies are tainted with music from other traditions and sometimes also feature pop elements. Somehow, in this new album, NESJO has chosen to let the jazz big-band out of the orchestra pit and to mix with the popular sound of the street. Through the tracks of the record, NESJO creates mixed ensembles with the use of instruments such as strings, accordion, flute, clarinet, horn, tuba… together with the band's regular branding of sax, trumpets and trombones. Another novelty of this work is that the non-instrumental tracks are sung in Italian by the three singers Freddy Frenzy, Michela Grena and Rosa Mussin. And the musical journey takes us to exotic but at the same time very close sounds in 21st century Europe: Balkan (“Piazza Della Liberta”, “CiganSka #1”), Arabic (“Petrolio”), African (“Nimi Muzima”), Italian (“Roma Tokyo Paris”), and ska (“Donna Di Chi”) and a sophisticated ska-jazz suite (“Sulla Rotta Dei Venti”). The opening words of the first track of the album give us a glimpse of the feeling of vindication, brotherhood and hope contained in this set of songs: "Where is the empathy for those in difficulty / in the streets of Trieste that shout with vitality / indifference hearts of stone / dense black Balkan agony".
To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.
Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).
In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.
Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.
Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.
This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.
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On this, their third album, they combine talents with Cuban lyricist, singer and composer Kiko Ruiz, who has toured and recorded with Pancho Amatʼs illustrious Estrellas del Buena Vista Social Club as well as having a longstanding history as a singer, composer and arranger with Orquesta Maria Alejandra y Cubanía.
Caracoles ushers (GRAMMY-award nominated) Orquesta Akokánʼs unique brand of mambo into the 21st century, imbuing it with the groupʼs signature sense of akokán–a Cuban Yoruba word meaning “from the heart”.
Back at the helm are producer and multi instrumentalist, Jacob Plasse and virtuosic pianist, composer and arranger Michael Eckroth - a collaboration that continues to lead Orquestaʼs exploration of the sublime mambo in all its depth and breadth.
Fronted by vocalist/guitarist Taylor Madison, and with Jake Clarke on drums and Mike Paulshock on bass, Webbed Wing cement their place in modern rock supremacy across 10 tracks of fuzzed-out pop nostalgia on new album Vol III. One impossibly-catchy anthem after another, loaded with Madison's signature sardonic wit, makes for one of the most exciting alternative rock records of the year. Taking notes from the likes of The Lemonheads and Teenage Fanclub, "Further" opens Webbed Wing's new album Vol. III with a bang--in less than 10 seconds, we're all the way in with Webbed Wing as they expertly intertwine the vibrancy of modern pop, the heaviness of grunge, and the sincerity of country. Brazen and self-deprecating, "Burn It Down" finds Madison unpacking what it means to fly too close to the sun. Its mid-tempo mastery is a testament to the trio's connection as musicians and friends; everything about this song just works. Drawing inspiration from big country ballads and shoegaze gems alike, the song shows off a different side of what listeners can expect from Vol. III.
LUMBEROB has always strived for maximalist sonic vaudeville, always hoped for real electro gabber hardcore noise art, always grabbed for frenzied illegibility, always lurched loosely improvised from a psych-swamp of love. On the new album, HUNTER GATHER, LUMBEROB swings swanky as proper pop deviance. Built from the same loopy logic which drives the stomping slaphappy force of his live show, these tunes are crafted out of lovely and weirdly thunk out loud and large soundscapes. Mixed and mastered by Shimmy-Disc founder Kramer (Daniel Johnston, JD Pinkus, Pan American), the album surprises, estranged from obvious categorization. These slippery little bouncy bangers are bold exercises in genre discovery. It sounds like nothing and it goes with everything. LUMBEROB is a tough act to follow, a surreally inventive performer who spins giddy with excitement, dancing dumb and banging hard. That's just what he does, and HUNTER GATHER is a refined encapsulation of that energy. There's truly a beautiful stupidity to be found here. HUNTER GATHER is noise-pop, art-rock, psych-primitive, dumb-dance. The album teams with bright sounds, spinning visions, and brut poetics. It curves furiously like a naughty noodle and, yes, it spins you dizzy at times. Nothing is old in that feeling ever. Listen loudly.
Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.
Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.
Godless Savage Garden ist eine starke EP - ursprünglich 1998 veröffentlicht - die einiges zu bieten hat. Es gibt zwei brandneue Songs, einen Coversong von Accept, zwei Wiederveröffentlichungen und Remaster von Songs des Debüts und vier Live-Aufnahmen. Jetzt erhältlich als Ltd. Edition im schwarz-grünen Splatter-Gatefold!
Dimmu Borgir, eine der einflussreichsten Bands der Symphonic Black Metal-Szene, hat mit "Godless Savage Garden" einen weiteren Meilenstein in ihrer Diskografie gesetzt. Diese EP, veröffentlicht 1998, besticht durch eine brillante Mischung aus Aggressivität und Melodie, die die Vielseitigkeit und das musikalische Können der Band eindrucksvoll unter Beweis stellt.
Von Beginn an wird der Hörer mit einem Sturm aus kraftvollen Riffs und majestätischen Orchesterarrangements begrüßt. Der Eröffnungstrack "Moonchild Domain" zeigt sofort die typische Klangsignatur von Dimmu Borgir: eine perfekte Symbiose aus gnadenloser Härte und epischer Atmosphäre. Shagrath's unbarmherzige Vocals verleihen dem Song eine dunkle Intensität, die durch die klangliche Dichte der Instrumentierung noch verstärkt wird.
Ein Highlight der EP ist zweifellos das Cover von Bathorys "Satan My Master". Dimmu Borgir schaffen es, dem Klassiker ihren eigenen Stempel aufzudrücken, ohne den ursprünglichen Geist des Songs zu verlieren. Dies spricht für das tiefe Verständnis und den Respekt der Band gegenüber den Pionieren des Genres
Nichts wirkte in den 70er und 80er Jahren so neu, modern oder futuristisch wie ein Synthesizer. Wenn ein Werbespot das Produkt oder sein Unternehmen zukunftsorientiert und der Zeit voraus erscheinen lassen sollte, wollte man etwas Elektronisches, etwas Außergewöhnliches. Als Fernsehproduzenten und Werbedirektoren nach Musik suchten, die wie 'Tubular Bells' und später nach Jean-Michel Jarre klang, mussten Musikbibliotheken wie De Wolfe, Bruton, Parry und Chappell die Titel sofort verfügbar haben. - 'Tomorrow's Fashions', zusammengestellt von Bob Stanley, reicht von Werbe-Jingles und TV-Themen bis hin zu herrlicher, beatloser Atmosphäre. Die Electronica-Marke 'Tomorrow's Fashions' nahm New Age- und Ambient-Musik vorweg. Sie hatte auch einen direkten und indirekten Einfluss auf Pop - die frühen Human League und die dann folgenden Sounds von Warp Records sind überall in dieser Compilation zu finden. Electronic Library-Tracks wurden von vielen Artists gesampelt, von MF Doom bis Kendrick Lamar. Was für den einen primitiv und experimentell ist, ist für den anderen ein Schlaflied aus dem Weltraumzeitalter. Dies war Musik, die im Verborgenen gemacht wurde, in Sohos geheimen Musikbibliothek-Studios, und die jetzt begehrt bei Sammlern und nicht zuletzt einflussreich geworden ist.
Som, Sangue e Raça is still one of the milestones in Brazilian music. The music of Dom Salvador e Abolição is a funky and smooth blend of samba, soul, rock, jazz, forro and baião. The band's sound was a major influence on the successful group Banda Black Rio. Som, Sangue e Raça still stands out for its catchy and groovy melodies and shows the wide range of the band. All this makes this samba/soul classic a must for all music collectors.
Som, Sangue e Raça is available as a limited edition of 1000 individually numbered copies on translucent red coloured vinyl.
Shrine is the 1986 debut solo album by the British soul vocalist Dee C. Lee. She enjoyed a prolific solo career in the mid-1980s in parallel to her role as vocalist in The Style Council. Dee enjoyed huge success with the '60s-styled ballad ""See The Day"", which reached #3 in late 1985. In addition to this hit, the album also contains ""Come Hell Or Waters High"". For the first time, Shrine is expanded with an additional bonus LP featuring 8 non-album tracks, including ""Wow Wow Mix"", ""Shrine (Club Mix)"", ""Yippee-Yi-Yay! (Dub Mix)"" and ""Don’t Do It Baby (Remix)"". Shrine (Expanded Edition) is available as a limited edition of 1000 individually numbered copies on pink & purple marbled vinyl and includes an insert.
A1 - String Theory
Senses arrives on Curvature in epic form, String Theory opening with a memorable pad melody before the track bursts into life with a stunning amen workout - edited and chopped impeccably with finely honed skills from a storied history in drum & bass. A subtly pleasant female vocal graces the track in the breakdown as a cacophony of melodies dance around in the mix, before the amens rip back to the forefront in style.
A2 - Cosmic Telemetry
Continuing a fine exploration of sounds of yesteryear, Cosmic Telemetry showcases a delicately jazzy vibe with breaks that hark back to classics such as Planetary Funk Alert, modernised with an atmospheric twist. Rolling out with a plethora of familiar samples and keys as synths elevate and rise in the backdrop, Cosmic Telemetry is an elegant pastiche for the ears and the dancefloor alike.
AA1 - Papillon
Clean old school breaks introduce Papillon, an earthy track with deep room-filling bass underpinning tight analogue drums, playfully decorated with an assortment of wavy synths, horns and flutes, plinky melodies and delicious female vocal samples in the breakdown before Senses subtly edits the breaks as a voice declares "I'm all yours" to synths pitching up and down at will to great effect.
AA2 - Past Lives
Closing the EP on an intensely atmospheric tip, Past Lives is full of heavily reminiscent rhythms from the classic 90s atmospheric era with sharp drum samples and ethereal synthwork that transport you to a nostalgic dreamscape, seamlessly blending the past and the present with classic 808 basslines and fluid, harmonious strings that perfectly complement the dramatic, all-encompassing padwork.
Words by Chris Hayes (Spatial / Red Mist)
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Wah Wah 45s präsentiert die Debüt-LP des ghanaischen Sängers und Djembe-Trommlers Afla Sackey. Mit seiner Band Afrik Bawantu hat er sich den Traum erfüllt, traditionelle ghanaische Musik mit knisternden Afrobeat-Grooves zu verbinden und das Ganze mit einem unwiderstehlich funky Twist abzurunden. Die einzigartige Mischung aus vitalen, afrikanischen Rhythmen mit flotten, lebhaften Bläsersektionen und heavy Basslinien bringt eine frische Perspektive in das Afrobeat-Genre.
Afrik Bawantu veröffentlichten 2013 ihre vielgelobte Debüt-EP "Noko Hewon" und 2014 die Debüt-LP "Life On The Street". Afla selbst arbeitete mit legendären Künstlern wie Sun Ra Arkestra, Ginger Baker und Tony Allen zusammen und ist bei zahlreichen zeitgenössischen Projekten mit Ibibio Sound Machine, Sons Of Kemet, Dele Sosimi, The Estuary 21, Eparapo sowie seiner jüngsten afroelektronischen Kollabo mit Produzent Raz Olsher, Raz & Afla, dabei.
- "Vibrant, uplifting Afrobeat and highlife from the master of percussion!" - Cerys Matthews, BBC 6 Music
- "Excellent track. Will playlist on PBB Radio." - Laurent Garnier, PBB France
- "If you need a weekend livener then look no further than this Ghana vs Nigeria soundclash from Afla Sakey & his fellow funkateers, it’s a proper trip down Afro funk memory lane. The vibes are unrepentantly throwback, but when the 70s were this good & their essence captured so well I’m all in." - The Slow Music Movement
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Caracoles katapultiert den einzigartigen Mambo-Sound des (für den GRAMMY-Award nominierten) Orquesta Akokán ins 21. Jahrhundert und verleiht ihm den für die Gruppe typischen Sinn für Akokán - ein kubanisches Yoruba-Wort, das 'von Herzen' bedeutet.
Wieder mit von der Partie sind der Produzent und Multiinstrumentalist Jacob Plasse und der virtuose Pianist, Komponist und Arrangeur Michael Eckroth. Auf diesem, ihrem dritten Album, vereinen sie ihre Talente mit dem kubanischen Texter, Sänger und Komponisten Kiko Ruiz, der mit Pancho Amats berühmten Estrellas del Buena Vista Social Club auf Tournee war und Aufnahmen gemacht hat, aber auch als Sänger, Komponist und Arrangeur mit dem Orquesta Maria Alejandra y Cubanía eine langjährige Erfahrung hat. Und obwohl Caracoles aus der heutigen Zeit stammt, reichen die Klänge weit in die Vergangenheit zurück und stellen eine glorreiche Rückkehr zu den ikonischen Grooves einer Ära dar, die von Benny Moré, Perez Prado und Machito in New Yorker Bands und Kubas Orquestas Gigantes in der Mitte des zwanzigsten Jahrhunderts geprägt wurde. Mambo ist sowohl ein Lied als auch ein Gebet, in dem die guten Geister angefleht werden, die Reise weg von der Dunkelheit zu führen. Zwei der Lieder des Albums - darunter die Titelmelodie - sind in diesem kongolesischen Dialekt gehalten, der für Uneingeweihte undurchdringlich sein soll. Die wilden, sprudelnden Grooves von Caracoles, so Ruiz, können „...die Seele zum Schwingen bringen, und das ist genau das, was die Welt im Moment braucht“.
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Caracoles katapultiert den einzigartigen Mambo-Sound des (für den GRAMMY-Award nominierten) Orquesta Akokán ins 21. Jahrhundert und verleiht ihm den für die Gruppe typischen Sinn für Akokán - ein kubanisches Yoruba-Wort, das 'von Herzen' bedeutet.
Wieder mit von der Partie sind der Produzent und Multiinstrumentalist Jacob Plasse und der virtuose Pianist, Komponist und Arrangeur Michael Eckroth. Auf diesem, ihrem dritten Album, vereinen sie ihre Talente mit dem kubanischen Texter, Sänger und Komponisten Kiko Ruiz, der mit Pancho Amats berühmten Estrellas del Buena Vista Social Club auf Tournee war und Aufnahmen gemacht hat, aber auch als Sänger, Komponist und Arrangeur mit dem Orquesta Maria Alejandra y Cubanía eine langjährige Erfahrung hat. Und obwohl Caracoles aus der heutigen Zeit stammt, reichen die Klänge weit in die Vergangenheit zurück und stellen eine glorreiche Rückkehr zu den ikonischen Grooves einer Ära dar, die von Benny Moré, Perez Prado und Machito in New Yorker Bands und Kubas Orquestas Gigantes in der Mitte des zwanzigsten Jahrhunderts geprägt wurde. Mambo ist sowohl ein Lied als auch ein Gebet, in dem die guten Geister angefleht werden, die Reise weg von der Dunkelheit zu führen. Zwei der Lieder des Albums - darunter die Titelmelodie - sind in diesem kongolesischen Dialekt gehalten, der für Uneingeweihte undurchdringlich sein soll. Die wilden, sprudelnden Grooves von Caracoles, so Ruiz, können „...die Seele zum Schwingen bringen, und das ist genau das, was die Welt im Moment braucht“.
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These days it seems as if at every turn, week in week out, the Reggae fraternity grieves the loss of another journey man singer, unassuming session musician or foundational sound man.
The power of remembrance, of tribute, of deeply honouring the historical legacy of so many singers & players has been, from its very inception, central to the mission of Ital Counselor Records. The arrival of IC008 carries forth this tradition in the form of an epic tribute to two of our most cherished influences who have recently passed on – The ever-spirited drummer Angus “Drummie Zeb” Gaye of Aswad fame and the indomitable UK sound man, the Mighty Zulu Warrior Jah Shaka.
This release brings together some of the usual Ital Counselor collaborators Chris Lane (AKA the Dub Organiser, Fashion Records), Soothsayer Horns, Inyaki BDF, along with new IC collaborator Gil Cang (Riz Records, Tuff Scout Records).
Collectively known as the IC All Stars, their mission was to rebuild a mythic dubplate made legendary by Shaka in the early 1980s. Known on the scene as Rasta Serenade, this horns driven instrumental dubplate was a never released version of Aswad’s vocal cut “Just a Little Herb” only ever played on Shaka’s sound.
To achieve maximum effect, the Dub Organiser dug back into the Fashion records vaults to unearth an unused loop of ‘Drummie’ marching out a militant beat. Inyaki BDF was recruited to lay down the bassline. Soothsayers horns hit harder still. Chris and Gil put the final guitar, keys, and mix touches to make this 4-cut maxi 12” a sound system killer; a set of big people dubs for the young and old. Meditative and marching; Weighted and spritely IC008 must mash up sound system dance north, south, east and west. Take a listen and you will hear.
Drummie Zeb of the Tribe of Zebulon.
Jah Shaka of the Tribe of Simeon.
This is a tribute. This is a remembrance.
This is also a pushing forward of a tradition
In a new Direction
A movement Forward
Ital Counselor Style.
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On Tuesday, June 20, 2023, we had the pleasure of playing a live concert for the audience of Duna Jam while the sun was setting on the beach and heat waves and sandstorms were rising from the Sahara in the west. It was an unforgettable concert for us, which had a profound emotional impact, as the situation and the atmosphere "crystallized" in their own space-time, so to speak. Thank you.
