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Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

Here's for the real thing! A late 60s Japanese compilation investigating the so-called "group sound" movement. Includes early recordings by a series of musicians later to perform with legendary bands such as the Flower Travellin' Band, Speed Glue & Shinki, Les Rallizes Denudes and Foodbrain. Must have !

"The True North" ist das zweite Soloalbum von Peter Garrett, dem Sänger von Midnight Oil und Vorreiter des weltweiten Umweltkampfes. Es bezieht seine Inspiration und Kraft aus den lebendigen Farben der australischen Natur und Landschaften. Die Band, die an seiner Entstehung beteiligt war, besteht aus Martin Rotsey (Midnight Oil) an der Gitarre, Heather Shannon (The Jezabels) an den Keyboards, Evan Mannell am Schlagzeug und Rowan Lane am Bass. Freya Schack-Arnott am Cello und Ollie Thorpe an der Pedal Steel schlossen sich ihnen an, ebenso wie 2 von Peters Töchtern May und Grace, die bei den Key-Tracks sangen. "The True North" wurde von Tony Buchen (Smashing Pumpkins, Montaigne, G-Flip, Tim Finn) produziert

Idriss D officially launches the brand new label Nedjma with his own 2-vinyl, 8-track album as first release. The imprint will serve as a platform for up and coming talents from the Arabic world who are not represented in the current musical landscape. A very bold statement from Idriss himself, this record sees the Franco-Algerian dj and producer infuse his personal history into what he loves the most and share it with the rest of the world.

First track Tsakhbira works as the perfect opener for the album with a melodic ambient-like mood and Arabic chants, with second track Beld el fen following in the same vein with raditional instruments interspersed with synth stabs and eerie atmos.

Chazil’s upbeat rhythm spices up the vibe, a mix of ethereal
singalongs and bouncy percussions. Mohamed is the first foray into Electronic territory, a downtempo piece featuring French vocals and plenty of analog industrial clanks that lead into subsequent Hey Galbi, an exquisite melodic house number with acid synth melodies and piano keys.

Electro (Leila Moon Remix) delves into more experimental landscapes, with darker tones, blurred vocals and pulsating beats, while Elf Leila is quintessential Electroclash Arabic music, blending these two genres together, with a syncopated super catchy bassline. Closing track Harramt is a whirlwind of snare rolls, 303 arpeggios and nods to North African heritage sounds.

Repress!

Coming as the ninth edition of the series, ‘EP9’ stays true to committing Defected’s biggest digital releases to wax, delivering an upfront package of house heat previously unavailable on vinyl. Kicking off the A-Side with Riva Starr’s remix of Defected anthem ‘Hey Hey’ by Dennis Ferrer, a tribute to Giorgio Moroder’s pivotal sound and the Paradise Garage early house vibe and serious dancefloor weapon. Ferreck Dawn’s ‘By My Side’ follows, a refined house groover with melodic keys, a soft filtered vocal and undulating beat featuring Californian producer Anthony Valadez. The flip opens with John Summit’s ‘Deep End’, a captivating house cut from the rising star that achieved Beatport #1 weeks after its release. Closing out the EP is Defected regular OFFAIAH, a slick, dancefloor-ready cut with OFFAIAH’s signature grooving bassline and an irresistible melody.

Das lauteste Rock/Fusion-Instrumental-Power-Trio der Welt beschert uns ihr erstes Konzeptalbum: In DUCK flieht der Protagonist, eine Ente, vor einem Pinguinpolizisten nach New York, wo Aufreger und Gefahren auf ihn warten. Die Aristocrats - Guthrie Govan/Gitarre, Bryan Beller/Bass, Marco Minnemann/Schlagzeug - haben ein kaleidoskopisches musikalisches Universum erschaffen, in dem sie sowohl typische Genre-Pastiches als auch einfallsreiche neue Arrangements erforschen - einige davon überraschend gefühlvoll und sensibel -, um die Geschichte zu ihrem rasanten Ende zu führen. Und während ihre offensichtliche Virtuosität und die ihr innewohnende Absurdität wie immer vorhanden sind, wird sie nun in der bisher ambitioniertesten kompositorischen und klanglichen Produktion der Band eingesetzt. Die abwechslungsreiche Musik begleitet den Protagonisten von der Ente in einem Großstadt-Tanzclub ("Aristoclub") über den gewaltsamen Rauswurf aus einer Spelunke ("Hey, Where's MY Drink Package") bis hin zum düsteren Thema für seinen Pinguin-Verfolger ("Sgt. Rockhopper") und endet schließlich mit dem actiongeladenen Balkan-Fusion-Finale "This Is Not Scrotum", bei dem der Geiger Rusanda Panfili (Hans Zimmer Live) als seltener Aristocrats-Album-Spezialgast auftritt. Duck ist das erste neue Studioalbum der Aristocrats seit fünf Jahren und wurde und mit einem Original-Artwork von Lance Myers (Space Jam) versehen. Und es ist klar, dass die ARISTOCRATS ihre kollektive Kunstfertigkeit auf ein völlig neues, wenn auch absurdes, Niveau gebracht haben. Als Standard CD, CD Deluxe Package in Box mit USB-Stick mit Stunden an Bonus-Material, Schlüsselanhänger und mehr sowie Dopple-Vinyl-LP erhältlich!

DELUXE CLEAR VINYL EDITION

Marking 40 years of The Jesus And Mary Chain, "Glasgow Eyes" was recorded at Mogwai"s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017"s "Damage and Joy", becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK"s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz. "Glasgow Eyes" not only extends The Jesus and Mary Chain"s story, but feels simultaneously like a return to roots. From the incendiary "Psychocandy" debut and its classic "Just Like Honey" onwards, the Reid brothers steadily became the misfits who made good without compromise.

RED VINYL EDITION

Marking 40 years of The Jesus And Mary Chain, "Glasgow Eyes" was recorded at Mogwai"s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017"s "Damage and Joy", becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK"s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz. "Glasgow Eyes" not only extends The Jesus and Mary Chain"s story, but feels simultaneously like a return to roots. From the incendiary "Psychocandy" debut and its classic "Just Like Honey" onwards, the Reid brothers steadily became the misfits who made good without compromise.

Der legendäre Rock & Roll-Hall-of-Famer Dion liefert ein neues Album ab, das Generationen überschreitet: Girl Friends. Auf seinem neuesten KTBA Records-Release arbeitet er mit einer herausragenden Besetzung weiblicher Künstlerinnen zusammen, darunter die Soul-Lady Susan Tedeschi, Kraftpaket Shemekia Copeland, Ikone Carlene Carter, Virtuosin Joanne Shaw Taylor und die vielseitige Maggie Rose. Dions zeitlose Stimme und die unterschiedlichen Stile dieser gefeierten Künstlerinnen bilden eine Fusion, die das reiche Spektrum amerikanischer Musik feiert.

"Idris Muhammad is an American jazz drummer and bandleader and is one of contemporary music’s most sampled drummers. His resume includes nearly 500 recording credits that range across the genre spectrum and 12 studio albums as a bandleader, including the 1976 House of The Rising Sun. The album is arranged by David Matthews, also known as leader of the Dave Matthews Band (DMB), and produced by Creed Taylor, founder of CTI Records. The track ""Sudan"" is arranged by jazz trumpeter Tom Harrell. The album features several guest performances by New York studio aces, including Joe Beck, Don Grolnick, David Sanborn, Fred Wesley, and Michael Brecker amongst others. House of the Rising Sun is available on black vinyl."

House Of The Rising Sun by Idris Muhammad, released 7 March 2024, includes the following tracks: "Hard to Face the Music", "Sudan" and more.

This version of House Of The Rising Sun comes as a 1xLP.

The Trip is the first solo album by N'Zeng, better known as Sébastien Blanchon. It has to be said that he hid behind his (hollow) nose to sniff out the right projects (ex Le Peuple de l'Herbe, member of Entourloop). His nose is hollow, but not for the trumpet, and yet it's with this instrument that he started out. And he reinvents it, giving it a subtle place on this musical road trip we call The Trip.
A journey open to all, with no tolls and no filters, apart from the cinematic filter of this lover of original soundtracks and trip hop. Beautiful images flash before our eyes, and in our ears, the smooth voice of Charlotte Savary (Wax Tailor). An album, a very good trip for lovers of Portishead, Gorillaz, and well-felt scratches in the form of controlled skids.
He's making a name for himself as N'Zeng, with his smooth arrangements.

N'Zeng's father played trumpet with his grandfather in the Feurs brass band in the Loire department. When he arrived in Saint Etienne, young Sébastien started out with a cornet à pistons at the Conservatoire. His teacher at the time, Marcel Heyte, had won a prize in Paris at the same time as a certain Maurice André.

His father took lessons in orchestral conducting, accompanying the offspring's budding musical career, which included a course at the Festival de Cuivre in Monastier-sur-Gazeille, where he met the soloists of the Radio France orchestra. A new awareness, a new confidence: off to Lyon, not for a soccer derby, but to "beef up his game". In 1997, he was awarded a gold medal for trumpet by a unanimous jury at the Conservatoire National de Lyon.

Lyon, capital of the Gauls, was the starting point for N'Zeng, who went on to become a member of the group Le Peuple de l'Herbe. 15 years later, with several successful records to his credit, a concert in 2003 at the Transmusicales with Beth Gibbons (Portishead), and a Victoire de la Musique award, it was time for N'Zeng to move on to other things.

Arrival in the City of Light, the place where dreams come true. Nzeng's dreams are not only sonic, but also visual, for Sébastien is not only a friendly presence and a talented musician, but also a cinephile. His knowledge of music theory, acquired during his years at the conservatory, enables him to tackle music for pictures.

He created a soundtrack for the cult film Alien - The 8th Passenger, and worked with musician Rone (collaborating with Baxter Dury) and his bandmates from Le Peuple de l'Herbe, composing 2 tracks for the soundtrack of Virginie Despentes's hard-hitting film "Baise-moi". On the album "Hollywood Hustlers", with the group "Mustang Force", he pays tribute to the soundtracks of Lalo Shiffrin, Ennio Morricone... The album is also well received by the critics. He conducts the arrangements and orchestrations for the Degiheuga Orchestra, and composes the original music for the Hôtel Bellevue dance show, another success!

2019 sees the birth of "The Trip" project. On this record, no masks, but a female voice, that of Charlotte Savary (Wax Taylor), laid on a carpet of strings. With this musical voyage, trip hop takes pride of place, with a balance between the body of the instruments and the mechanics of beatmaking.

There's no getting off track on this well-balanced record, with its silky orchestrations. N'Zeng accompanies us elegantly, with his trusty trumpet as GPS, here used subtly. The album cover is a photograph taken by Sébastien Blanchon's mother, in 1973, a year when Saint Etienne was about to become French champion for the 7th time.

Since emerging in 1997, Chicago quartet Plain White T's — Tom Higgenson vocals, Tim Lopez [lead guitar, vocals], Mike Retondo [bass], and De'Mar Hamilton [drums] — have remained visible and viable. They have consistently delivered unforgettable pop rock anthems that take up real estate in your brain for months at a time. They have amassed over 2.7 billion total global streams, earned two Grammy nominations, and collected several Platinum-plus and Gold certifications across their impressive catalogue. Their signature single "Hey There Delilah" went quadruple-platinum, topped the Billboard Hot 100, and earned the pair of aforementioned GRAMMY® nominations in 2008 — for "Song of the Year" and "Best Pop Performance by a Duo or Group with Vocal." They have made their pop culture mark by appearing on highly visible shows such as the Macy's Thanksgiving Day Parade, Sesame Street, iCarly, 90210, Beavis & Butthead, and Frankenweenie, all the while nabbing press accolades from TIME, Billboard, ESPN, Rolling Stone, AV Club, MTV, MSNBC, and more. Plain White T's have proven to be a reliable musical force, as well as a career band that shows no signs of stopping or slowing down.

Hey ! Uzi specialist start the record with his Tribe du sud killa !
Dismatik, phase neuralizer pure jus teknoidal.
John start the B side with an original ragga bomba, fire !
Trizia Close, a very good mental sound from another time, the file is closed
TRIBE DU SUD !
Poster & sticker

Five albums, sixty tracks and still counting. Cool Million are back with a new album!

Ten years ago the euro soul duo Cool Million released their first album 'Going Out Tonight' on UK soul label Expansion Records. The album took the soul crowd by surprise, cause who were these guys that out of the blue, could recreated the soulful sound of the 80's hey day like no other?

The answer to that question is; Rob Hardt and Frank Ryle. One a super musician from Germany with skills you can only dream of. The other a Dj/musicfreak from Denmark with a masterplan – both of them with tons of dedication and passion for thier craft.

Thier passion and ambition have kept them in the came for a decade and they have worked with a long list of artists, some known some not, some forgotten some on their way up! The list include names such as: Jean Carne, Keni Burke, Shirley Jones, Eugene Wilde, Meli'sa Morgan, Rena Scott, Leroy Burgess, Peggi Blu, Yvonne Gage, Marc Evans, Alton McClain, Kenny Thomas, Lisa Stansfield, Tom Moulton, Joey Negro, Dimitri From Paris and John Morales, Glenn Jones, Marc Sadane, Tim Owens, Gavin Christopher, Michael Jeffries.

Cool Million tells that they feel privileged and humble when they look at the list of names they have worked with over the ten years. Futhermore they add; 'Who would have thought that two dudes from northern Europe would be able to create music with people that talented, we hope we could do it, when we started but that we actually done it, is amazing and wonderful'.

Reflecting on the first decade of Cool Million it's fair to say that Rob & Frank are two determined and ambitious gentlemen with extraordinary talent.

So what can Cool Million tell us abouth their new album? 'It's a classic Cool Million album where we work/collaborate with various artists, staying true to our original concept both in terms of genre and how we think a album works best. Having say that we think that our fans will be a little surprised with the fact that this is our slowest album to date. We believe we have more variety than ever and it's a fact that the music on the new album is slowed down in terms of more ballads and mid-tempo songs compared to our other albums'.

'The reason for this development is that we wanted to try something that was a little out of our comfort zone. Also we felt that we wanted to prove that we can do quality slow jams aswell. You could also argue that is's beause we both turned fifty this year.. haha'.

The world of Country Music is one of tradition and reverence, it is then only fitting that two uniquely special Rock & Roll artists, whose music educations are steeped in Country and Gospel, offer their interpretations on Hank’s music. Jerry Lee Lewis and Johnny Cash, each offer their take with ten versions on Williams’ Country standards: ‘Hey, Good Lookin’’, ‘I could Never Be Ashamed Of You’, ‘I Can't Help It (If I'm Still In Love With You)’, ‘I Heard The Lonesome Whistle’ and ‘Cold, Cold Heart’ - performed by Cash. With ‘Lovesick Blues’, ‘You Win Again’, ‘Your Cheating Heart’, ‘Jambalaya (On The Bayou)’ and ‘Settin' The Woods On Fire’ – delivered by Lewis.

. The Classic Example were a Los Angeles singing duet consisting of Curtis Colbert and Harriet Hurst. Their eponymous LP was released in 1972 on GSF Records alongside infamous acts such as Skull Snaps and The Whatnauts. Very little is known about the duo, only one LP was recorded and the group disbanded shortly after release. The backing band for the entire album is none other than Hodges, James, Smith, and Crawford. Newly remasted and pressed on audiophile virgin vinyl.

Transistor Radio: the fourth M. Ward album. Listening to M. Ward's breezy ode to radio's forgotten heydays is a lot like taking in a huge breath of dust-bowl wind -- however, its charms are rooted in the hazy lemonade-sipping of summer rather than the great depression-obsession of the post-O Brother, Where Art Thou? mainstream

Transistor Radio: the fourth M. Ward album. Listening to M. Ward's breezy ode to radio's forgotten heydays is a lot like taking in a huge breath of dust-bowl wind -- however, its charms are rooted in the hazy lemonade-sipping of summer rather than the great depression-obsession of the post-O Brother, Where Art Thou? mainstream

Joyce Harris was born in Kentucky in 1939 and moved to New Orleans with her family when she was 13 years old. Harris learned to play guitar, write songs and was soon performing duets with her younger sister Judy. They released three singles – ‘He’s The One’ / ‘Hey Pretty Baby’, ‘Washboard Sam’ / ‘Nursery Rock (Beedle De Bop)’ and ‘Hey Little Baby’/ ‘Rock And Roll Kittens’ – as Judy and Joyce in 1958. When her sister got married, Harris spent a year singing in restaurants in Mexico and a first solo single ‘It’s You’ / ‘The Boy In School’ was released on New York’s U.T. Records at the end of 1959. A talent spotter saw her in Mexico and was impressed enough to secure her an audition with the Austin, Texas-based Domino label. Harris was soon in the studio with Tommy Kaspar and Don Burch of Domino’s vocal quartet, the Slades, to record ‘I Cheated’ / ‘Do You Know What It’s Like To Be Lonesome?’ (R-903) in October 1960. ‘No Way Out’ / ‘Dreamer’ (R-905) followed in January 1961 and sold strongly enough to be licensed to Infinity Records. On 7 April 1961, Harris performed ‘No Way Out’ live on TV on American Bandstand. Three more singles would be issued on different labels between 1963 and 1966.

Harris’ cover version of ‘I Got My Mojo Working’ – backed by Sonny Rhodes’ group the Daylighters –was recorded at the ‘No Way Out’ session and remained unissued until Ace put it out on our “The Domino Records Story” in 1997 (CDCHD 506). With renewed interest in Harris we are delighted to pair this ‘Trailer’ version of ‘I Got My Mojo Working’ with ‘No Way Out’ as a 7” single.

Drop the needle and shake your stuff.

Transistor Radio: the fourth M. Ward album. Listening to M. Ward's breezy ode to radio's forgotten heydays is a lot like taking in a huge breath of dust-bowl wind -- however, its charms are rooted in the hazy lemonade-sipping of summer rather than the great depression-obsession of the post-O Brother, Where Art Thou? mainstream.