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Introducing "Cybernetics" - The second EP by Philip Biedermann on his own label "The Machine Dream". This release features four meticulously crafted tracks that embrace the dancefloor experience.

The EP kicks off with the title track, "Cybernetics," a mesmerizing fusion of a captivating 303 bassline and evocative machine-like sounds.
"Neural Sequence" starts as a techno-infused piece and seamlessly evolves into a melodic wonderland, leaving dancers in awe.
"Digital Emotions" offers a fast-paced and trippy sonic journey, with a groovy yet gnarly bassline and joyful sequences jumping throughout the track.
Closing the EP is "Subsonic Sequences," a genre-bending Breaks track with a melodic touch, perfect for both the late-dancefloor and home listening.

Introducing Moy, the Visionary Uk-Based Producer Whose Sonic Alchemy Transcends Boundaries and Genres. in His Latest Masterpiece, the 'Heard in a Field' Ep on Syncrophone Records, Moy Delves Deep Into the Realms of Melancholic Braindance and Electrifying Breakbeat-Infused Electro. With Cosmic Acid Melodies That Spiral Through the Cosmos, This Ep Is a Captivating Journey Through the Outer Reaches of Electronic Music.

a True Highlight of 'Deepening991' Is the Exceptional Remix by the Uk Electro Maestro Carl Finlow, Adding His Signature Touch to an Already Mesmerizing Soundscape. Moy's Artistry Shines Brightly as He Effortlessly Merges Nostalgia With Futurism, Crafting an Ep That Is as Emotionally Resonant as It Is Dancefloor-Ready. Dive Into the Sonic Universe of Moy and Experience the Ethereal Landscapes of 'Heard in a Field'—a Testament to His Boundless Creativity and Mastery of Electronic Soundscapes....

For the past few years we’ve been mesmerized by Elijah Minnelli’s output on his own Breadminster County Council label… a handful of hand-crafted 7”s that live at the foggy intersection of dub, outsider folk, and various strands of Eastern European and South/Central American musics. It now seems inevitable that he would join the ZamZam family.

Firmly rooted in dub through its mammoth bassline, ‘Gradually’ is a shaggy, unhurried tune framed by melancholy, almost grieving squeezebox and gorgeous ensemble percussion that reverently recalls early cumbias. The tune is unique for Elijah in that it features fully-sung vocals. Themes of loss, despair, tragedy and coping circle and loop, ironically held in a musical matrix that spirals in deliberate repetion.

In ‘Gradually Verzion’ the introduction of a minimal melody and long echo trails signal a dramatic shift, going full dubwise steppers without compromising its warm center. Elijah holds back the wheezy melodics, deftly forwarding the percussion in time-honored echo chamber mode.

Nach drei erfolgreichen EPs präsentiert das britische Indie-Rock-Quartett Coach Party mit KILLJOY sein Debütalbum. Vorausgegangen war der Single-Teaser MICRO AGGRESSION ('A fiery anti-banter anthem.' - The Observer), die als BBC Introducing Tune Of The Week auf die BBC-Tagesplaylist kam. Coach Party hat das vergangene Jahr damit verbracht, auf über 120 Gigs ihre explosive Liveshow zu verfeinern, darunter als Support von Indochine im Stade de France, bei einer Headliner-Tour mit Londons Oslo, als Support von The Mysterines sowie von Wet Leg auf deren ausverkauften Wintertour durch UK und Europa.

iPhupho L’ka Biko, the highly acclaimed Africanist experimental jazz band, is thrilled to announce the release of their debut EP, ‘Azania’ vinyl through Canadian record label, We Are Busy Bodies. Following the success of their two acclaimed singles, ‘Abaphezulu’, released through Brownswood Recordings, and ‘uThixo uKhona’, distributed by Platoon.

The band dedicated the year 2022 to recording and producing this eagerly awaited EP. Azania delves into a rich tapestry of themes that are close to the hearts of the band members, including spirituality, Pan Africanism, freedom, love, ritual, tradition, culture, and displacement. The EP showcases iPhupho L’ka Biko's unique musical fusion, blending jazz with indigenous African music of imvumane in tracks like Qamata, and infusing jazz with gospel influences in songs like Singabakho. This eclectic approach reflects the fluidity and diversity of the band’s sound, promising an immersive and captivating musical journey.

The band’s dynamic sound has been honed and perfected through their numerous live performances across the country, which have garnered them a devoted and loyal fan base. iPhupho L’ka Biko’s ability to connect with audiences through their energetic and soul-stirring performances has elevated them to become one of Johannesburg’s most revered musical collectives. “Azania the EP is an introduction of iPhupho L’ka Biko to the world, marking the beginning of a new era,” shares Nhlanhla Ngqaqu, the band's founder and composer.

French production duo and live act Atomic moog debuts on the Delsin Cameron series with their Programm EP. Operating in a deep techno niche since 2015 they've put out an excellent run of mesmerizing, introvert dancefloor techno for labels like Lowless, Subosc and Norwegian techno platform Monument. Here on Delsin they crafted the next chapter of their vibrant modular quest, sub heavy and sparkling at the same time, sparsely arranged subtle techno jams.

Introducing Alberto Castellana and his electrifying nine-track debut album. Hailing from Italy, Castellana brings the classic Italian signature Nu-Jazz sound to the table.

Accompanied by a trio of exceptionally talented musicians on the piano, guitar, and Rhodes piano, Castellana's debut album promises an in-depth journey through various electronic genres, including House, Break Beat, Drum & Bass, as well as the realms of Jazz.

Das Saarbrückener Rap-Duo Genetikk, bestehend aus Rapper karuzo und Produzent sikk, steht seit Ende 2011 beim Düsseldorfer Independent-Label Selfmade Records unter Vertrag, das zuvor bereits Künstler wie Casper oder Kollegah zu kommerziell erfolgreichen Szenegrößen geformt hatte und spätestens Anfang 2013 mit dem Nummer 1-Album "Jung, brutal, gutaussehend 2" von Kollegah & Farid Bang mit neu aufgestelltem Verkaufsrekord (80.000 Einheiten in der VÖ-Woche) seine Ausnahmestellung im Rap-Bereich eindrucksvoll verdeutlichen konnte.Die erste gemeinsame Veröffentlichung, Voodoozirkus im Februar 2012, fand sofort großen Anklang und schaffte es direkt in die Top10 der Download-Charts von media control. Ein Charteinstieg in die Albumcharts blieb nur deshalb aus, weil die CD damals lediglich über den Online-Shop von Selfmade Records erstanden werden konnte. Mit ihrem ersten Release und der Single "König der Lügner" (mehr als 5 Millionen Klicks auf YouTube) gelang es Genetikk auf Anhieb, sich eine große Anhängerschaft aufzubauen und ihr enormes Potential erstmals anzudeuten.Stilistisch orientieren sich Genetikk stark an den Wurzeln klassischer Rap-Musik aus Frankreich und den USA, was sich zum einen an karuzos stylischem Rapstil, aber vor allem an der organischen, bis ins letzte Detail perfekt ausproduzierten Beat-Ästhetik von Produzent sikk bemerkbar macht. Genetikk gelingt es, etablierte Genre-Charakteristika mit frischen, modernen Stil-Elementen zu kombinieren, was dem Duo ein gleichermaßen einzigartiges wie unterhaltsames Alleinstellungsmerkmal innerhalb der deutschsprachigen Rapszene verleiht. Es gibt derzeit wohl keinen Rap-Act mit höherem Wiedererkennungswert.D.N.A. - kurz für "Da Neckbreaker Aliens" - ist das erste große Album der beiden Saarländer. Sido, dessen Single "Bilder im Kopf" kürzlich mit Platin ausgezeichnet wurde, ist ebenso mit von der Partie wie Labelpartner Kollegah und die US-Hip-Hop-Legende RZA, seines Zeichens Gründer & Kopf des Wu-Tang-Clans.Das größte deutsche HipHop-Magazin Juice, dessen begehrtes Cover Genetikk jüngst schmückte, ist bereits sicher: Mit D.N.A hat Genetikk einen "modernen Hip-Hop-Klassiker" geschaffen. Ein "Deutschrap-Manifest", das die besten Elemente der nationalen Rap-Historie zusammenführt.

Not a lot is known about the mysterious Mayz Road Kartel. They only created this outstanding underground joint in the mid 90's in the concrets of Memphis. For many this is the sound of Memphis in his purest form.

All tracks produced by no other than Blackout and backed by featured rappers Playa Posse. The first time on vinyl for this whole planet served for you by Hole in One.

Nothing in Narciso's (known) background indicated these 10 minutes of tension and release, a soundtrack to some nameless anticipation. Soundtrack, also, to a dance piece on video by choreographer Catarina Miranda produced in 2021.

It is certainly nothing one would expect to hear in one of his regular DJ sets. A long, moody intro appears to chart a difficult journey under heavy clouds, until the drums manifest themselves first as a sort of warning, or preparation, maybe a signal, maybe just warming up for the steady kick drum that follows, a clean 4/4 beat complemented by broken off-rhythms and sparse percussion that seem to run parallel in observation of the main event.

Clouds definitely open up towards the end. Crystalline drops brighten the sonic mood. Quite a unique experiment in Narciso's body of work, undertaken during a period when the DJ and producer, feeling unmotivated, decided to relax from detailed planning and instead allowed himself to flow along with the sounds, expanding possibilities and actually breaking free from previous notions of composition.

Boris Divider presents a new original release with this 3 tracker ep. New refreshing stu­ for the Drivecom’s catalogue after the more experimental electro works from the “Generative Operations” series, and after the limited 20th anniversary reissues of “Ultralink” and “Take My Beat”.



Now it’s time to hear and feel “Your Light”. A special work that brings back the puristic electro vibe from the early works on Drivecom but with a new sonic spectrum and powerful sound production. Repetitive and syncopated synthlines as Divider’s ID signature, powerful rhythm patterns and an exclusive and unique vocoder treatment that build-up the original track to open the A side. Meanwhile A2 track “Your Light” (The Variant Version) is a slowed and darker deep version that will remind us some kind of an aseptic and much more minimalistic sound design with some similar soundscapes and echoes of the earlier Arpanet’s stu­. In the other side, “Your Light” (The Infrared Version) is a ready-for-the-‑oor soundtrack with more aggressive FM synth modulations and characteristic pitch-shifted voice, a track that keep the essence of the original title but balances the release into a more solid club-oriented tool.



About the message behind this track. The lyrics represent a desire from an entity who wants to know the deal about the deepest wishes and ever growing curiosity of mankind and their di­erent proles, and with such statement the entity wants to feel what are we made of and shows to the audience if they really understand what scientic evolution means for their own, the human race, with all the pros and cons, an always double-sided sword taking the light as a pure and indomable source of energy. This message is also re‑ected in a special Video clip you’ll nd soon on Drivecom’s YouTube channel as a bonus promotional material.

A great balanced 12” Ep which serves as an introduction for what we’ll have in the near future: “Memories from the Dust”.

A long awaited new B. Divider’s album on Drivecom records.

“This one might’ve been in us from the start”, says John Hancock. He’s talking about ‘Echos’ - his, Becky Williams, Finn Bjarnson & Ryan Raddon seventh Late Night Alumni longform. Predominantly known for blending electronic and organic elements into their music, the album represents a departure from the band’s largely house-led sound. An all-acoustic affair, in many ways though ‘Echos’ is a natural extension of LNA’s DNA. “Most of our songs”, John continues, “are written in the organic/acoustic realm and then produced with electronic flavours to create our sound. In those intimate song beginnings though, there’s a magic all its own. We’ve long wanted to do an album that captured and augmented that initial intimacy.” Which is indeed what Becky, John, Finn & Ryan have now done. The quartet have dug back into their twenty-year, six-album history and selected eleven tracks that they felt could most benefit from this song-spotlighting treatment. With their original acoustic intros as cues, they’ve taken them to their natural conclusions. A Sliding Doors-type feast for LNA enthusiasts both new and established, or indeed all lovers of downtempo, downtime, live instrumentation-led music, ‘Echos’.

repressed !

Brothers Hom Yu and Jiun Chi returned to Taipei in 2017 after finishing their studies. Since then they began to explore their mutual obsession for Taiwanese occult-inspired art and vintage superstitious imagery, channelling it through music. Mong Tong means many things in Chinese, but the translation they choose to fit their music is “the east-side of dreams”.

Growing up in Taiwan in the 90’s, the brothers listen to 電子琴音樂 which they describe as “relaxing Chinese synth pop” along with video game soundtracks, psychedelic music, doom metal and sound collage/library music. On “Mystery秘神” these inspirations combine with the dark humour of Taiwanese folklore and a love of conspiracy theories to form what they describe as “a psychedelic journey to the east.”

Album Description
Recorded in their home studio in Taipei, “Mystery 秘神” is a psychedelic journey into Taiwanese folklore combined with the 80’s media obsession with the supernatural. It’s a record that manages to combine nostalgia and tradition with humour and an underlying intrinsic earthiness to create something unlike anything else out there.

Fall is here after all the summer maddness with festivals, mediterranean tours and Ibiza residencies, it full on vinyl releases for Vega Records. Introducing the 5 Pack Unreleased IV edition, Vega Records takes another step into the world of unreleased music from the Vega Family. Gems from Leroy Burgess, Two Soul fusion, Tony Touch, Professor Featuring Ndu Shezi & Thebe, Johnny Dangerous, and gospel royalty Bebe Winans to Elements Of Life Demos and songs in the making all come together on this special 5 piece vinyl set. With 12 tracks in the sequence there are a select number of talented producers on the project which include Two Soul Fusion AKA Louie Vega & Josh Milan, Pablo Fierro, Johnny Dangerous, Luis Radio, Pietro Nicosia and musicians Axel Tosca and Luisito Quintero. They all contribute to these unique pieces of music mastered by the one and only who we call “The Quincy Jones Of Mastering” Mr. Herb Powers of PM Mastering and the vinyl manufactured by Optimal, Germany. With a limited number of copies made make sure you get your hands on them, they will be rare and very fast!!! Vega Records “always bringing you top quality music” !! Distributed by Above Board, UK.

A blistering advancement of the knife-sharp hooks and urgently efficient post-punk structures that they’ve spent over a decade refining since their formation in 2011, the band’s fourth album – and second on Specialist Subject - emerges from a period of flux for the band’s chief songwriting partnership of Emma Wigham (drums/vocals) and Mark Jasper (guitar/vocals). First came a move north to Yorkshire from their native London. “We had decorated a tiny, rented house in Mytholmroyd” Jasper explains. “We setup a practice room in the top of a mill nearby and tried to write music, which we did amid stress about money, and a fear of having made the wrong decision. We had left our jobs, friends and a nice but absolutely tiny flat in London behind, and moved to a small village in West Yorkshire.” Although they found the location to be beautiful, the transition from city life to rural turned out to be an odd fit – too much so, it turned out. From this relatively short stay in West Yorkshire, however, came a more permanent change as the couple welcomed their first child Ivy into the family. Although, they’re hesitant to put too much of Streams and Waterways influence on the shoulders of their young daughter – she arrived a year and a half into the album’s conception – there’s no denying that its themes of loss, birth, and being part of this eternal, momentary life were brought into sharp focus following their new arrival. “Streams and Waterways is about the struggle of looking at the clock, realising it’s actually going pretty damn fast and knowing that really you have no control over anything” Jasper confirms. Perhaps that explains the way that opener The Valley doesn’t even introduce itself before careering into a full-throttled, three-minute scuzzy rager that would approach the descriptor anthemic had it not been kicked and scuffed along the way; it’s maybe why the wiry, ferocious Choice You Make feels like a charge into a storm despite the uncertainty of what you might find. It’s perhaps why even when Witching Waves allow themselves respite on the pared down Open A Hole, there’s a churning anxiety that lies below the acoustic guitar and harmonising vocals: in many ways musically and thematically Witching Waves are relinquishing the control that’s always been a fixture of their music – with all the thrilling and nervous fallout that comes from that. Although the pair have since returned south (having relocated to Exeter), Streams and Waterways also serves as a document of their foray northwards. The surviving artefact from Jasper’s never-to-be-finished studio that he’d began to build in Yorkshire – following the ending of his London-based Sound Savers studio – the record is also the first to feature current bassist Will Fitzpatrick, who joined initially live on their support tour with Australian punks Camp Cope. Fitzpatrick – a key component of Liverpool’s DIY scene for two decades – quickly became a key part of the writing process. Recording sessions were done during periods of lockdown that allowed congregation, Jasper recalling a still unborn Ivy kicking hard during an early mix playback of It’s A Shame’s layered noise rock assault. “The song was about my past, a much harder time. But my future was egging me on” he says. It’s a neat summation of Streams and Waterways and its representation of the discomfort of life amidst the compulsion to ride on its journey regardless. It’s a record that finds Witching Waves looking into the future more than ever before, but still bristles with the rush of being in the moment – because ultimately, despite what may have happened or may yet come, the band’s strongest trait remains being able to keep you feeling in the present.

On Gary’s forthcoming solo acoustic guitar concept album, each song is shot/recorded with a different vintage acoustic guitar of Gary’s private very rare collection. The instruments range from Martin 0-1898 Herringbone to Gary’s “Main Axe” (over the last 4 decades) Martin D28 1941 Herringbone and 7 other significant guitars for this project entitled “Gary Brewer’s House of Axes”. This is a “getting back to his roots” type feel likened unto Leo Kottke’s 1969 album 6- and 12-String Guitar, with a very stripped down/pure raw microscopic view of the essence and soul of these vintage instruments without the blurring accents of other instrumental accompaniments (in our best efforts to capture the true energy this album was cut with no overdubs, and each song was captured in the first take). There are 9 songs with the last song being a moving tribute to Gary’s late Father Finley Brewer whom he lost to cancer in late 2020. Each of these songs have short introductions that tell about each guitar and the song briefly.

Double Vinyl : full set of the finale concert of their 1985 'Kick Over Apartheid!' tour + BBC broadcast tracks from their 1986 concert at the Town And Country Club. 2 x 140 grs Black LP , 25 tracks. Printed inners. introduction by Redskins founding member Martin Hewes + liner notes.

SHORT INFOS
In the mid '80s, in the midst and direct aftermath of the era defining Miner's Strike, the Redskins, as political activists, delivered their electrifying and radical Socialist Workers Party missives and broadsides through the ministry of their music - a unique post-punk rock/soul hybrid that gained their lead singer, Chris Dean, the sobriquet 'Tamla Motormouth'.

The Redskins were taking a stand for the working man and by standing up, they stood out - and never so forcefully as in the live arena! With their stellar musicianship and crack brass section honed through a never ending whorl of 'fighting fund' benefit gigs, they were the furious flames that kept the anti-Thatcher fires of dissent burning throughout those challenging years marked by her seeming unassailability.

'These Furious Flames!' is a 25 track documentation of the energy, commitment and drive of the Redskins as that campaigning live act. Issued in 2xCD capacity wallet, double vinyl and digital editions, each format couples together a recording of the full set of the finale concert of their 1985 'Kick Over Apartheid!' tour - including guest appearances from Jerry Dammers and Billy Bragg - with the BBC broadcast tracks from their 1986 concert at the Town And Country Club.

The double CD edition comes with a 40 page booklet that compiles new and period quotes by band members Martin Hewes, Chris Dean, Paul Hookham and Kevin Robertson as well as thoughts by an array of associates and celebrity fans including poet Atilla The Stockbroker, Billy Bragg, Colin Revolting, their studio album producers Pat Foley & Chris Silagyi and DJ Gary Crowley. The booklet also contains gig reviews, photographs and a condensed digest of media quotes about the band.

The double vinyl LP format has printed inner bags replete with evocative archive photographs and a written introduction by Redskins founding member Martin Hewes, with whose co-operation and input this celebratory release has been curated.

RA is back! Eight years after their first release, we are proud to present the second full album of the Norwegian duo Christer Borge-Lunde (Ex Dimension 5, Electron Wave) and Lars Wedde Lind.

"9th" is a concentrate of eastern melodies, deep soundscapes and fantastic positive climaxes... Starting where "To Sirius" left off, "9th" upgrades the RA experience to an all-allegoric story, ranging from soft Ambient and downtempo Goa Trance to uplifting morning monsters!

Octagon and Expand Consciousness embody dreamlike acceleration/deceleration phases aside the Ambient maestrias of the Intro and Light Receiver.
Ultima Energica, Spirit Complex and the massive Time Current are melodic stompers designed for the dancefloor, twirling layers over mind-melting rythmics!
Other Self, Transcendant and Predator are real athems to the Sun, the very definition of RA's so special music, full of psychedelic highs and soundscape travelling. Story-telling at its best...

Swedish producer Max I Million is simply on another level in the world of creating lush, jazzy hip-hop instrumentals, and he proves that point over and over again on his latest album, Shine On… From one

track to the next, the immensely talented beatsmith finds new ways to dazzle the ears with layers of creatively flipped samples, earworm melodies, and innovatively created sounds from household items. From the intro to the outro, Shine On…

embodies the spirit of what makes his music so compelling. This is the type of record you could put on your turntable and relax until you’ve had your moment of zen, or dig into the details of the music, like the unreal layering of “On My Mind” or the muddy funk of “Don King.” Those choices, both big and small, exemplify the love that Max put into this record, and they’re why Shine On… is absolutely his finest work yet.

2023 Repress

It's the quiet ones we should watch, they always say. Which is particularly astute advice right now, when loud, constant self-declaration and saturated 'brand' visibility have become the norm. But above the babble and brightness, some voices will always speak quiet volumes ­- with calm eloquence and the kind of certitude that comes from valuing the playing out, not just the prize.

Sweden's José González is just such a voice. He first charmed his way into the UK's earshot via the murmurous and elegant, classically finger-picked folk pop of his 2005 album, Veneer, which has since sold over a staggering 430, 000 copies in UK alone. Two years later came In Our Nature, a further exploration of José's influences (Argentinian Folklore, the '60s US folk tradition and the British pastoral folk-pop style of the same era), on which he resisted the temptation to beef up his alluringly introvert aesthetic. The albums made the UK Top 10 and Top 20 respectively.

Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist's compellingly intimate vocal style and intricate playing technique, but it's often strikingly rhythmic in nature and cohere's perfectly, with hand claps and taps on the body of his instrument underlining the songs' mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the 'claws' of modern life.

Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. 'There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.'

As José sees it, the record is his personal, 'zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have - after birth and before death.

Temple, Bassey, MacLaine and now, Hurt; in a world of Shirleys, the name Sophia Ruby Katz has chosen for her music is perhaps prophetic as it captures her stunningly emotive vocal approach. And whilst Shirley Hurt might be the perfect nom de plume for the creative Toronto-based artist, it’s her self-titled debut album which positions her as protagonist of her own universe.

Traversing sonic landscapes, Shirley Hurt’s vocals ebb and flow like lyrical Ley lines tracking the contours of her own well-travelled map. By the age of 18, Hurt had travelled extensively, having lived in upwards of 20 different apartments and houses, as a result never really feeling “at home” anywhere. At this age was when Hurt found herself in New York, dipping her toes into various scenes and musical realms. The first and only place she ever felt at home, and a partial home-base for her, she travelled between Toronto and New York until the age of 26.When the project she was working on in New York reached a dead-end she returned West, moving in with musicians Harrison Forman (Hieronymus Harry, Zones) and Patrick Lefler (Roy, Possum). Being surrounded by their improvising at all hours, a new approach emerged. “Harrison is a virtuosic guitar player, and I hadn't picked up a guitar in any serious way since I was 16,” she says, “by osmosis I started playing again for fun.” Without agenda, the process grew organically from there.

Hurt and Forman decided to travel across the US and Canada in a trailer for half a year, with the entire album written in the final months of their trip. Hurt had been writing loose ideas here and there but felt blocked creatively. When the pair reached Berkley, they wound up house-sitting for a tuned-in friend who recommended she pray, in a very direct way, to remove the block. “I took her advice and to my surprise it worked. The album was conceptualized and finished within a couple of months.” Shapeshifting in tone and phrasing, Hurt’s music alchemizes the furthest corners of experimental indie folk, pop, and country into a singular sound with elegant unpredictability.

Whilst Shirley Hurt’s lyrical and structural ideas may have emerged on the road, the album was self-produced and recorded at Joseph Shabason (The War on Drugs)’s Aytche studio in Toronto’s West End. It was engineered by Nathan Vanderwielen and Chris Shannon (Bart), and Hurt enlisted collaborators Jason Bhattacharya, Nick Dourado, Patrick Lefler, and Harrison Forman to hone her vision. “I wasn’t sure what was going to happen with the songs until we returned to Toronto,” she recalls. “Joseph and I had been talking about working together after sending across some demos and Jason happened to recommend his studio at the exact same time, so everything came together naturally at that point.”

Whilst her most recent adventures may have seen Shirley Hurt bound for Texas as an official SXSW artist (hand-picked by Gorilla Vs Bear to perform at their own showcase), she currently resides in her native Canada, more specifically rural Ontario, close to friends and family, and is already working on her second album. The ties to lineage are interwoven in the fabric of the music. Hurt’s mother, artist Leala Hewak, instilled a lust for life and innate value of creativity in her from a young age as she explored the role of gallery owner, vintage jewellery show host, mid-century modern furniture expert, real estate agent, painter. Hurt’s father, a civil litigation lawyer and new-wave obsessed music lover with an extensive vinyl collection, introduced Hurt to a wide-range of artists at a young age such as Nina Hagen, Laurie Anderson, Tom Tom Club, and endless others.

In her video for ‘Problem Child’ Hurt’s grandmother walks her through a generationally revered pie-making process. One would be tempted to hear this, and other songs, as autobiographical. Yet, Hurt’s lyrics are rarely pulled from her relationships or personal history––at least not consciously. Rather, they arise from somewhere less tangible or defined. “Lyrics tend to come to me when I am doing non-musical things - washing dishes, brushing my dogs, walking to the grocery store. I have a lot of voice memos on my phone and half-filled notebooks and when I hear something, I have to stop what I'm doing to get the idea down. Usually it’s bits and pieces. It's rare a full song comes to me in one go, but it's great when they do, and those are often my favourites.”

Carving out a space of her own in an all-encompassing universe, Shirley Hurt is the introduction to a long artistic story, and if the journey so far is anything to go by, it will be stippled with evermore unpredictable chapters.

We Release Jazz is sooooo happy to announce the release of a very limited edition double LP for Boillat Thérace Quintet’s 1974 Montreux Jazz Festival performance, with 3 bonus studio tracks! This gem from the Geneva, Switzerland band follows the acclaimed WRJ reissue of their self-titled album (1974) and My Greatest Love (1975), their full-length with Benny Bailey. The 300-copies-only white sleeved DLP comes with the classic obi and features fully remastered audiophile-ready recordings.

Captured live at Montreux Jazz Festival, July 3rd 1974, this rare audio treat features Boillat Thérace Quintet fan-favorites including their infamous homages to Swiss Marmite ("Cenovis"), and Geneva's public transport line Tram 12 ("1224"), as well as remarkable renditions of timeless jazz numbers by Freddie Hubbard ("Straight Life" and "Backlash") and Chick Corea ("Spain").

Additionally, the double LP offers 3 bonus songs taken from the ensemble’s sessions for their self-titled debut: superb takes on Herbie Hancock’s "Dolphin Dance", Wayne Shorter’s "Adam’s Apple", and Claude Engel’s "5th of July, Dulong Street".

All in all it’s a beautiful soul-jazz/modal fest full of flair and heart, one that perfectly encapsulates the vibrant and inventive Swiss jazz scene of the 1970s. A must have for fans and collectors.

This new album from We Release Jazz follows the label’s celebrated releases of the Ryo Fukui catalogue (Scenery, Mellow Dream, A Letter from Slowboat, Ryo Fukui in New York, My Favorite Tune), Hiroshi Suzuki’s seminal Cat album, and Le Cercle Rouge soundtrack by Eric Demarsan among other jazz wonders.

Introducing Biel Solsona: A Barcelona pianist with a vibrant musical background. His debut solo album, "· i · ", showcases a fusion of jazz, electronic, and cinematic sounds. Featuring Ferran Puertas on double bass and Eudald Font on drums, they weave a mesmerizing tapestry of original compositions where piano harmonies blend seamlessly with synthesizers and rhythmic beats, revealing a unique musical landscape. Their rendition of "Sunday Disco Dawn", an original composition of spanish disco dons Fundación Tony Manero, stands out, taking things into a more spacy direction. Experience the synergy of melodies, discover new textures, and immerse yourself in Biel Solsona's musical universe.

Official soundtrack to the video game Grendizer, Feast of the Wolves, composed by Marcin Przybylowicz and Magda Urbańska.

Get ready for an unforgettable adventure with Grendizer, the famous giant robot. This action-adventure game, adapted from the cult anime series, will plunge you into the world of its creator, Go Nagai, and give you the chance to pilot the most powerful of robots and fight the forces of evil.

Grendizer is a cult manga created by Go Nagai in 1975. This sci-fi masterpiece revolutionised the mecha genre by introducing giant robots in epic battles. The captivating story plunges us into a futuristic universe where the hero, Actarus, pilots the powerful robot Grendizer to protect the Earth from alien invaders.

As soon as it was published, "Grendizer" was a phenomenal success. The visual impact of the detailed drawings and spectacular battle scenes contributed to the general craze. The manga quickly became a veritable social phenomenon, generating spin-off products, animated adaptations and a devoted fan base.

The career of composer Marcin Przybylowicz is marked by his exceptional talent and memorable contribution to the video game industry. Przybylowicz has brought his musical creativity to many projects, but it is his collaboration with CD Projeckt on The Witcher 3 and Cyberpunk 2077 that has earned him worldwide recognition!

Die 11 Tracks des fünften Albums von Michael Nau fügen sich zu einem schönen Bild zusammen. Die Texte regen den Hörer immer wieder zum Nachdenken an. Sie sind introspektiv, aber vage und ergebnisoffen. Der Indierock-Hintergrund zeigt Anzeichen von Psych-Soul-Einflüssen mit trockenen und druckvollen Drums, üppigen Synthesizer-Linien und einer geschmackvollen, verbgetränkten Vokalproduktion. Nau's Gesang bewegt sich irgendwo zwischen dem Singen vor Publikum, dem Erzählen von Geschichten für einen geliebten Menschen und dem Grübeln über sich selbst. Die entspannte Einstellung des Singer-Songwriters zum Plattenmachen ist im Sound zu hören. Aufgenommen von dem erfahrenen Produzent und Tontechniker Adrien Olsen (The Killers, Lucy Dacus, Fruit Bats) in seinem Studio Montrose Recording in Richmond, Virginia, mit Musikern, die im Laufe der Jahre schon bei Naus verschiedenen Aufnahmen und Tourneen mitgewirkt hatten.

Die 11 Tracks des fünften Albums von Michael Nau fügen sich zu einem schönen Bild zusammen. Die Texte regen den Hörer immer wieder zum Nachdenken an. Sie sind introspektiv, aber vage und ergebnisoffen. Der Indierock-Hintergrund zeigt Anzeichen von Psych-Soul-Einflüssen mit trockenen und druckvollen Drums, üppigen Synthesizer-Linien und einer geschmackvollen, verbgetränkten Vokalproduktion. Nau's Gesang bewegt sich irgendwo zwischen dem Singen vor Publikum, dem Erzählen von Geschichten für einen geliebten Menschen und dem Grübeln über sich selbst. Die entspannte Einstellung des Singer-Songwriters zum Plattenmachen ist im Sound zu hören. Aufgenommen von dem erfahrenen Produzent und Tontechniker Adrien Olsen (The Killers, Lucy Dacus, Fruit Bats) in seinem Studio Montrose Recording in Richmond, Virginia, mit Musikern, die im Laufe der Jahre schon bei Naus verschiedenen Aufnahmen und Tourneen mitgewirkt hatten.

Detroit rising microphone star Paradime stepped away from the mic 10 years ago with a loyal following and industry respect. Now he's back for one final album with the indie stalwart label Mello Music Group. The new album is a who's who of most respected in Detroit - including Apollo Brown, Marv Won, Guilty Simpson, Denaun Porter, Ty Farris and the incredible Wayne Gerard (Guitarist alongside Bob James and Stevie Wonder to name a few). The new album is a rooted in the Motor City and runs the gamut from Boombap to Downriver, Heartfelt to Smashmouth. Paradime's new album is one of the best to come out of Detroit this year - PERIOD.

ZWEILASTER SAYS Dies ist ist unsere Platte! Sie wurde aufgenommen im Frühjahr/ 1. Quartal 2022. Das wurde SO gemacht von uns und unserem Pro-duzent Julian Knoth. In dem Album gehts um Pain und Joy, - echte Kunstheraphie halt! "Scheiblettenkäse und Sehnsucht ist ein witziges Drama, gespielt von zwei introvertierten Cholerikern!"(*innen) Viel Spass von Arno und Marie! PS: Das Album gibts schon seit 2022, also ist nur neu, dass es jetzt vom lieben Thomas Götz von "Tomatenplatten" auf Vinyl rausgebracht wurde. Cover von Maxi Messer.

The A side of this 45, a brand new track from Aaron Frazer, is about how pressure makes diamonds. The last couple years have been really challenging, especially for those navigating relationships amidst the chaos. This song celebrates the connections of love that are strong enough to weather any storm, and the certainty that comes from making it through together. The B side features a track from Aaron's first solo LP, Introducing. Lyrically, Frazer sounds lovesick; the imagery he paints of demons "so close behind" and the repetition of these lyrics emphasize his longing. The song starts with piercing guitar, dark bass, and chime piano and Frazer himself drums throughout the song. The orchestration is swell while the strings and voices blend well with the transcendent feel of the music.

Renowned Berlin-based music discovery platform COLORSxSTUDIOS will release their new vinyl compilation album, ‘MOVE:FEEL1’, just in time for the holidays.

The limited-edition double disc gatefold vinyl will feature 16 beloved A COLORS SHOW tracks, both recent and from the archive, including London-based rapper Kwengface’s ‘Freedom’ that was released earlier this year, critically-acclaimed Malian artist Fatoumata Diawara’s ‘Nterini’ from 2019, and Dominican-Italian star YEИDRY’s breakout 2020 hit ‘Nena’.

The album is truly international—it will feature songs sung in six different languages (including English, Swedish, German, Bambara, French, Vietnamese, and Spanish) and represent artists from 15 different countries across the world.

‘MOVE:FEEL1’ reflects and celebrates the launch of COLORS’ new ‘MOVE’ and ‘FEEL’ playlists that are now available across all DSPs. Updated monthly, these playlists will curate COLORS’ genre fluid output into cohesive listening experiences that cater for varying emotional states.

The songs on the ‘MOVE’ playlist—and hence on the ‘MOVE’ sides of the vinyl—are uptempo, bold, sexy and energetic, and aim to set the tone for daring and unapologetic enjoyment. In contrast, the tracks on the ‘FEEL’ playlist and discs are downtempo and emotive. They are for relaxation, and to help listeners contemplate their internal and external environments

Designed by COLORS’ in-house creative team, the vinyl cover is mirrored, meaning its appearance adapts depending on the light and colors it reflects. This was an important decision to ensure the cover represents all of the featured artists, who all performed their A COLORS SHOWS against different colored backdrops. The mirrored material also enables the audience to literally (and hopefully metaphorically) see themselves in the album.

Each side of the mirrored cover is adorned differently: while the “MOVE” side features embossed lines, stripes and slashes indicative of motion, the more introverted “FEEL” side is debossed with goosebump-like grooves. Even with their eyes closed, people will be able to feel which side of the album is which, adding an extra sensory layer to the listening experience.
MOVE:FEEL1’s design also prioritizes sustainability, using no single-use plastics for its packaging.

Indie pop quartet Melenas hail from Pamplona, Spain, a picturesque region nestled just south of the Pyrenees. Such beauty can't help but inform the band's songwriting, but Melenas aren't content to just sit placidly & take in the scenery. Since they burst onto the scene in 2016, the band has hit the ground running, playing incessantly both locally & on the stages at national festivals like Primavera Sound & Eurosonic as well as releasing a debut full length (2018's "s/t" album) and a 7-inch single both triple-released on local labels Elsa, Nebula & Snap! Clap! Club. Trouble In Mind is honored to be releasing their new album Dias Raros and is the first label outside of Spain to release Melenas music to the world.Dias Raros hums right from the get-go, peppering their garage-pop punch with elements of lysergic dream pop, melancholic indie rock and strident guitar jangle. The album title translates to "Strange Days" an acknowledgement - according to the band - of "...those days where you spend more time inside than outside. Inside your own self, inside your bedroom and your own universe thinking about your wishes, dreams, memories, obsessions or fears." The lyrics - sung entirely in their native Spanish - reference "those interior dialogues where sometimes you fight to escape from a situation, you wonder what another person will be thinking about or feeling, you gotta say goodbye, or you just enjoy the time by yourself. Days that, for different reasons, you're feeling different, they are strange". Opener "Primer tiempo" buzzes with an urgent organ drone, unfolding into a yearning ballad of modern guitar-pop bolstered by the group's lush harmonies & sets the tone for the rest of Dias Raros. Songs like "No puedo pensar" "3 Segundos" and "Despertar" follow suit, with the rhythm section galloping headlong into an insistent guitar strum, while ballads like the tender "El Tiempo ha Padsado" rely on the band's melodious voices bolstered by a lilting guitar riff and gentle organ swells. Elsewhere mid tempo rockers like the stomping "Los alemanes", the simmering "Ciencia Ficción" and "Ya no es Verano"s insistent jangle recall underground greats like The Pastels, R.E.M. and Shop Assistants. "Vals" ("Waltz") closes the album in 3/4 time, named for the ballroom dance as well as the last name of a close friend - a dedication to her. Its dreamy sway alluding to classic Brill Building songwriting; dusted with melancholy, but lifted by cascading voices, and organ and guitar waves and guitars that twinkle and shimmer over a cracking backbeat. Dias Raros is the perfect introduction to a band bursting with promise, confidently inhabiting their own space built upon the foundation of their influences both geographically and culturally, as well as musically.

Upstate NY heavyweights 38 Spesh and Conway The Machine have joined forces for a collaboration album fans did not see coming. Having recorded with each other for well over a decade, these two lyrical powerhouses' styles mesh effortlessly on this 10-track offering. The soundbeds for the illustrious affair are provided by Spesh himself with the help of a producer he has championed for years, Jimmy Dukes. Instead of continuing to mine the '90s like their contemporaries, the duo bring a sound that calls back to early '00s Hip-Hop. On top of verses that will etch themselves in your mind courtesy of Spesh and Conway, the project includes standout bars and hooks by the likes Lloyd Banks, Pharoahe Monch, Benny The Butcher, Che Noir, ElCamino, and Emanny.

RAUHBEIN sind nach ihrem Debutalbum, dass auf Anhieb Platz #20 der deutschen Album Charts erreichte, schnell über ihren Titel des Geheimtipps hinweggekommen. Mit Hits wie „Komm mit uns“ oder „Auf die Freundschaft“ erspielten sie sich die Herzen der Fans, eroberten die Charts und machten sich in Windeseile einen Namen.
Mit dem neuen Album „Herz eines Kriegers“ soll die Erfolgsgeschichte nun fortgesetzt werden. Auf den 13 neuen Titeln u.a. mit einem Gastfeature von In Extremo Frontmann Michael Rhein, beweisen Rauhbein gekonnt, wie sie die Elemente aus Folk, Rock und Metal miteinander verschmelzen lassen.
„Herz eines Kriegers“ schließt genau dort an, wo „Steh wieder auf“ aufgehört hat und beschert den Fans ein Album, das seines Gleichen sucht.

Channelling the rhythm of the poetry of Desnos and also the dinstinctive paintings of Francis Bacon, the band Venera 4 is an original presence in France.

Venera 4 impacted with their first Ep, 'Deaf Hearts', which laid the foundations of their expansive yet intimate sound that evokes the DIY spirit of the post-punk scene.

The intricate vocals are delicately layered over the uncompromising guitars. Eidôlon is a powerful yet introspective album with the icy elegance of Broadcast, melodies worthy of the best of Ride, and a white wall of noise like that of The Jesus & Mary Chain.

Abrasive, violent, delicate and sexual, Eidôlon is a reflection of it's own time: a protean art form.

Toronto native Demur is a master of groovy, funky deep house and has been since his fine debut TruSkool back in 2016. He has been busy of late with Visions back in March finding him collaborating with the likes of Fred P and Aaron Gray. Now comes another full length in Under The Waning Moon, another compelling mix of contemporary deep house sounds, well-sourced and deployed samples and elements of everything from jazz to funk to downtempo colouring the grooves. For steamy late-night stuff look no further than '21 Days A Hoe' while 'Wasted Wednesdays' is delightfully sunny and well swung for cosy back room vibes.

With Scream If You Don’t Exist, Richie Culver metamorphoses from outsider musician to underground fixture, feeling his way from the fringes towards a growing community of musicians that have gravitated towards his singular sound world. Building upon the stark catharsis of his previous dispatches, on his sophomore album the artist draws from grimdark drone, industrial noise, experimental hip-hop and UK rave to map out a space for himself, caught between genre and discipline. While on his debut, I Was Born By The Sea, Culver took a last glimpse back at his grey, salt-flecked past while struggling towards somewhere brighter, here, he documents the process of finding fresh waters, parsing through the complexity of inhabiting a more open and optimistic place while contending with the weight of his resolve, staring hard won self-acceptance in the face. The album’s title speaks to this creative and emotional work, serving both as the foundational paradox from which the artist’s new discordant sound emerges and as a call to action, a defiant cry in the face of existential angst.

Part of this process involves visiting familiar territory with renewed focus. Macabre opener ‘Hottest Day Of The Year’ signals an unpleasant memory with crow caw, queasy, gas leak ambience and dental drill whir as Culver recalls a life lived in nihilism: “Everything is just something that happened / Reductionism, muscles spasms, a mother’s first contraction.” Yet, on Scream If You Don’t Exist, Culver’s irresistible formula for ragged machine poetry is shot through with palpable urgency. No longer listless and despairing, he finds new intricacies for these compositions, tracing a stark interplay between crushing bass excavations and penetrating vocal clarity, a contrast picked out in the delicate threads of rhythmic pulse suggesting themselves in the blunt pressure and skittering creep of ‘Weakness’, on which Culver offers up vulnerability as a tentative solution to self-described emotional constipation: “Please do / Do take my kindness for weakness / For I am weak / And that is ok.” The amniotic soundscape of ‘YOLO (then u die)’ gives way to depth charge drone and unnerving machinic improvisations, like a noise show heard from deep in the Mariana trench, while on ‘Underground Flower’ the low-end fog lifts to reveal a brighter, colder scene. “Love me for who I could be / Not who I am,” he pleads, tending gently to his own tenacious bud.

Scream If You Don’t Exist gives us a glimpse of this flower in bloom. On the album’s cursed self-help tape title track stuttering loops of off-kilter keys and childlike repetition make light of the very real risk of disappearing all-together, a nervous breakdown rendered as a malfunctioning nursery rhyme. Paranoiac anthem ‘Say 4 Sure’ introduces bit-crushed boom-bap stomp, as though hammered out on a water-logged Game Boy, swarms of loose-wire noise sparking up against guttural grunts and ragged exhalations, while ‘On The Top’ enacts a seance for the hardcore spirit, with loops of rave piano and hiccuping vocal chops pirouetting through knackered samples, air raid sirens and the ghostly crash of breakbeat cymbals. As though in response to the solitary nature of much of his musical exploration, this time, the artist invites other voices into the world of Scream If You Don’t Exist. On ‘Swollen’, the unflinching, brimstone prophecy of Billy Woods sounds clear through an expanse of spirallic bass, preaching the same frayed gospel as Culver when he issues the quietly devastating contemporary diagnosis: “Computer broke but it still works for now / That’s the best you can say for most of us anyhow,” while another fearless correspondent from the fringes, Moor Mother, brings earthbound heft to the ambient drift and obliterating barrage of ‘Restaurants,’ teasing out meaning with elongated intonation and pitch-shifted intensity.

It’s during the album’s most meditative moments that we might recognise this space Culver has found for himself for what it really is. ‘OMG They’re Gone’ follows a chopped and slowed monologue from Culver’s wife, who works as a death doula, reflecting on her own experiences with grief and the reality of living within a culture both terrified and ignorant of the process. Floating over glistening ebb, etherised croons and luminous chimes, her words stand as a prescient reminder of the power of ephemerality. Just as Culver flourishes in imperfection, here we can find enormous strength in transcience. But it’s with ‘Just Jump In,’ which unfurls like a buoyant counterpart to the sparkling oil rigs of ‘I was born by the sea’, that Culver illuminates the hopeful waters we realise we’ve been making our steady way towards. “I know now / That you loved me,” he admits, a revelation a lifetime in the making. Through the rawest reflection Culver has found a way forward, driven by an optimism drawn from a resolve to be better, to love and be loved, an admission to weakness and the discovery of a new kind of strength. “Don’t test the water,” he reassures us and himself, “just jump in.”

Scream If You Don’t Exist will be released in November 2023 by Participant, on limited edition vinyl, and digital download . The release will be accompanied by a series of films directed by Mau Morgo, Josiane M.H Pozi, William Markarian-Martin, Simon Bus, and Bruxism.

Introducing HUUUM, a new group comprising of Tehran born/Vienna-based artist Rojin Sharafi, working with Iranian singer Omid Darvish and Austrian saxophone artist Astrid Wiesinger on their debut album.

It's hard to know where to start with this, it's dark, beautiful, haunting, challenging & dreamlike throughout. The unexpected arrangement creates a mood that fluctuates constantly, scythed by Darvish's vocals and Wiesinger's Saxophone - all orchestrated by the mastermind of Rojin Sharafi. It's forward thinking music at it's finest, experimental music that is fascinating to get engrossed by.

According to a brief introduction from the artist printed on the centre labels, Jus Ed's latest EP was inspired by "the end of a toxic relationship". The Underground Quality founder has always been good at eking every last drop of emotion from his productions, though he's never been as open as thus.

Check first the melancholic chords, warming grooves and delay-laden spoken word vocals of 'She Kicked Me', before moving on to the alien acid jack of 'Toxic Get Out', where the producer's spoken word missives tend towards the inspirational. Elsewhere, 'Trigga' is a deep, hazy and hypnotic treat blessed with killer jazz bass; 'I Guess I Will Never Know' sees Jus Ed muse on relationship breakdown over a jazzy breakbeat-driven groove; and 'Daisy Moja Mitosc' is a deliciously deep and percussion-rich treat.

‘Permanent Rain’ is introspective listening. Lean back and let your ears catch a source that moves, breaths, resonates and rises, until a quiet truth swells upon us.
XII captures truth in all its honesty. Sometimes it feels so physical, it’s as if time and elements of nature are peeled of layer after layer.

This record combines songwriting with sonic hypnosis. A rhythmic, esoteric oasis, containing currents of mysticism, yet accompanied by contemporary electronics. Its elements translate to a brew of mutant raga, neofolk and tripped out celtic fantasies.

Gudu Records is proud to present remixes of Special Request and Novelist’s grime-meets-techno Summer anthem ‘Sliver’ - by two of club music’s modern-day heavyweights in KETTAMA and Tim Reaper.

In Special Request’s words: “I chose Tim Reaper and KETTAMA because they are both 100% top-table practitioners of machine funk. They both delivered the goods in completely different ways and illuminate new paths with this song. Both mixes have been causing havoc in our sets and I can’t wait for people to hear them.”

Both remixes are out now on all platforms, with a limited 12” release available to pre-order now. It continues a stand-out 2023 for Peggy Gou’s record label, which has already seen releases from Special Request & Novelist, Mogwaa, Matisa, Hiver, Matrefakt and DMX Krew, as well as the inaugural entry in Gudu & Friends - a new annual compilation series which introduced Salamanda, Closet Yi, Lady Blacktronika and more to the roster.

RNT welcomes Cody Currie back to the catalog with an extended EP of soulful and jazzy original sounds. A project that’s been in the works since his label debut back in 2017, the “Cody Currie EP” is a refined statement of the rising star producer’s UK-jazz and club roots, both danceable and introspective. Enlisting a talented roster of collaborators, such as vocalists Stee Downes, RNT mainstay Cor.ece, and newcomer Marlena Dae as well as instrumentalists Mikeal and Ally McMahon, each track is like a little world of its own in the universe of Cody’s vast musical aesthetic. To round out the EP we have a stellar remix from European deep house royalty Vincenzo, who shows that his production tools are still sharp as ever.

180g audiophile vinyl reissue of American blues guitarist Melvin Taylor's 1995 album 'Melvin Taylor & The Slack Band', which is appearing on vinyl for the first time with remastering by Cicely Baston at Alchemy/Air Mastering, London "The U.S. release of Melvin Taylor's two early-'80s LPs by Evidence a decade later was a shock introduction to a blues guitarist who seemingly blazed out of nowhere - outside of Rosa's Lounge in Chicago, that is. "Blazed" is the right word, too, because Taylor is a total maximalist who unleashes torrents of notes to fill up every space. But he's so convincing a player that the concept of "blues guitar hero" might get a good name again, even with fans dead- tired of excess who never thought they'd think things like, "Man, can Melvin Taylor play the ever-loving (add the expletive superlative of your choice) out of the guitar" again. Taylor's first real-time release, Melvin Taylor & the Slack Band, is a pretty straightforward affair - basic trio with minimal overdubs, serviceable vocals in an Albert King mode, and a mix of originals and very classic covers. The opening "Texas Flood" lets him rip on a slow blues, constantly changing up his playing with wah-wah blitzes as the real ace in his sonic hole. The originals "Depression Blues" and "Groovin' in New Orleans" add some funk flair, while "Talking to Anna Mae" is a straight- up Chicago boogie instrumental that Taylor shines on. But he's even more in his element on the unadorned slow blues "Tin Pan Alley" and King's "Don't Throw Your Love on Me So Strong." It's partly the speed but even more the phrasing - the unexpected stops and starts, the spiky and blazing runs and flurries, the unusual note selections he tosses in - that sets his playing apart. The other covers have their sporadic moments - "TBone Shuffle" is inconsequential, but Otis Rush's "All Your Love" and "Voodoo Chile" are worth listening to, even if the latter doesn't add anything to the famous Hendrix wah-wah workout. Taylor actually doesn't sound that radical here, like he was playing to establish blues circuit credentials by putting his stamp on familiar songs more than indulging offbeat personal touches like the mellow lounge jazz take on the Champs' "Tequila." But his playing can be truly electrifying and Melvin Taylor & the Slack Band is recommended for anyone, especially Stevie Ray Vaughan fans, looking for a distinctive new blues guitar voice." - Don Snowden, AllMusic Personnel: Melvin Taylor, guitar, vocals / Willie Smith, bass guitar / Steve Potts, drums Recorded and mixed on March 27-30, 1995 at Dockside Studios, Maurice, LA

If there's one specific component that grounds 'Sky Flesh', it's focus. Italian musician and sound designer Marta De Pascalis flexed her technical muscle on 2020's 'Sonus Ruinae', layering various sounds and processes in an attempt to touch the sublime. In contrast, 'Sky Flesh' is a single thought, composed using just one instrument: the Yamaha CS-60. A slimmed-down sibling to the gargantuan CS-80 - the analog synthesizer used by Vangelis to create his iconic 'Blade Runner' score - the CS-60 was released in 1977, a few years before the MIDI protocol was introduced to help standardize production methods. MIDI would change the electronic music landscape completely, offering a level of control that De Pascalis consciously relinquishes, preferring to highlight expressiveness and timbre, elements more readily associated with acoustic instruments. The album arrives as much of the wider experimental scene busies itself with algorithmic composition and AI-assisted modeling; De Pascalis chooses to work instead like an organologist, harnessing the CS-60's mercurial magic to suggest deeper truths about our evolving relationship with machines.

Currently based in Berlin, De Pascalis grew up in Rome, where she was surrounded by atrophied ruins that piqued her interest in decay and memory. Over her last three albums, she used tape loops and advanced synthesizer techniques to create a unique sound world that's guided by her musical philosophy, rather than a specific aesthetic. As she's developed her technique and confidence, her music has become even more idiosyncratic, and at this stage in her career she's stripped her sound down to its core elements, focusing on emotion, narrative and mystery. Using timbres that recall a time when electronic music still waved towards the future

The vinyl single LOVE/HATE brings together two sample collages on the theme of good and evil. Often evoked and sung about, but rarely in such concentrated, systematic form, these collages present the words LOVE and HATE in a variegated catalogue of articulations. Poirier’s miniature radio play is anything but misanthropic: never before has the message of hate been conveyed in such a wonderfully warm-hearted manner. The LOVE side features a track originally released by Jan Jelinek in 2005 on the Eastern Developments label under the long-forgotten pseudonym The Exposures.

From the original press release:

Originally intended as the intro to a special edition of the radio broadcast “Abenteuer Forschung” (Adventures in Research) on “sexuality and romance in digital postmodernism”, the composition collages countless “love” samples from the R&B genre. The “collage of digital passion” had a devastating effect, acting as an aphrodisiac that turned the recording session into an orgy. No further details were revealed by the broadcaster. Unfortunately, the programme wasn’t broadcast live so the secret is likely to remain locked away in the station’s archives forever. Nevertheless, Eastern Developments have managed to obtain authorisation for a “toned down” version of the original, providing the listener with a vague idea of the composition’s true impact.

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

Purple Color Vinyl

We are really proud to introduce a new release on Mawimbi Records: "Mawimbi, Vol. 2”. Its title is a nod to “Mawimbi, Vol. 1”, which was the inaugural release of our record label back in 2015. A new compilation, at last, after a decade of music activism and a handful of EPs and albums which have helped unearth some of today’s talents from the new global music scene (Onipa, Loya, Afriquoi, Raz & Afla). It stays true to the driving principles of our artistic direction: support upcoming artists, e ncourage the breaking down of musical frontiers, help make happen new encounters between electronic music and so-called “afro” music. While these encounters can now be witnessed anywhere in pop music’s current zeitgeist, from Beyoncé to South African’s vibrant amapiano scene, we think there’s still plenty to explore.

“Mawimbi, Vol. 2” truly feels like the culmination of a long path for our record label. Because it includes artists who have been actively contributing to the Mawimbi adventure over the years, and also because it’s another convincing testimony of the fruitfulness of this musical intuition we have so heartily been defending for the last decade. Indeed, the 8 tracks of “Mawimbi, Vol. 2” resist all the usual labels. They sound like they stem more from human encounters and artistic dialogues launched in the moment than attempts to be associated with any music scene in particular. Each of the 8 pieces of this compilation presents in a unique way the search for this cross-pollinating sound.

The compilation opens with a really engaging rework of James Stewart’s classic track “Cotonou” by Lyon-based tropical music enthusiasts Voilaaa, who took Peter Solo’s voodoo soul lines on a trip across the Black Atlantic beginning with a horn-heavy cuban cha-cha-cha before falling into a savory triple time dance. As tireless sonic adventurers, Amsterdam-based duo Umoja have brought back a handful of hits from their numerous trips to Kenya meeting with local benga musicians. “Avana Va” is one of their compelling tunes, featuring Kenyan musician and producer Sidney Simila. This urge to collaborate with musicians from across the African continent is also to be found in Village Cuts’ ever expanding discography. On “Sentima”, they showcase their trademark London funky sound, introducing us to the talents of Congolese guitarist and singer Kissangwa.

Afriquoi’s 2020 hit “Ndeko Solo” is presented in a brand new shape, sprinkled with some French Touch flavours. “Djansa”, by Toulouse-based producers Mr. Boom, rides a distinct South African-inspired groove, while inviting us to a nighttime dance by the Balearic sea. On “Silent Runner”, French producer and musician Ozferti moulds his own musical galaxy where East African scales meet cutting edge global club beats. With “Nabi Kumi”, Anglo-Ghanaian duo Raz & Afla delivers their deepest piece, once again inducing a state of trance with a triple-time beat and an hypnotic kora loop. Closing the compilation, “It's Holy” is a unique collaboration between Tom Excell (Onipa, Nubiyan Twist, David Walters) and Dizraeli, one of the most interesting voices in British rap, which by making connections between broken beat, jazz and african music, illustrates the precious mixture of musical aesthetics that make up the current UK musical landscape.

Two years after his debut album under the moniker Aboukir, Ralph Maruani returns with a new record titled “Change”. Fitting title for a record that was written and recorded during a period of great turmoil in his life. The intimacy of these songs are reflected in the music itself.

Whereas “Digital Introversion” was floating in a sea of psychedelic infused echoes and reverb, “Change” is much more stripped down, sporting a singer-songwriter ethos. The album was recorded between December 2022 and March 2023 in Paris, France almost entirely by Maruani except for the drums which were recorded by Louis McGuire in Berlin, Germany and pedal steel by Reggie Duncan in Mississippi, USA.

The album opener “Alright” is an upbeat number with guitars reminiscent of John Fogerty’s Creedence Clearwater Revival, Strawberry Fields inspired Mellotron and Stereolab aesthetic on the outro, assuring that whatever may come next, everything will be alright. Then followed by “Release” the track that makes a direct link with “Digital introversion”, an 8 minutes Floydesque hazy jam. “Rolling on” shows a different side to Aboukir’s music as it opens up to folk/country accents in a 1970s singer-songwriter vibe. “Croz” is Maruani’s immediate reaction to David Crosby’s passing. A tribute to one of his lifelong influence and inspiration.

The album then unveils itself going back and forth between more stripped down tunes and psychedelic ones, eventually reaching its climax with “Changes”.

Repress!

To celebrate what would have been the world-renowned songwriter, Rod Temperton’s 70th birthday, one of the highlights of Heatwave’s ‘Central Heating’ album, and never before released as a single, the mystical ‘The Star Of A Story’ gets an official, remastered outing on 45! Backed with the intoxicating, funk joint ‘Ain’t No Half’ Steppin’ it’s an incredible insight into the magic of both Rod and Heatwave as a whole.

Formed in 1975, Heatwave, primarily a chart topping funk / disco outfit, dropped ‘The Star Of A Story’ an uncharacteristic yet deeply elegant and ethereal departure crafted by keyboardist, Rod Temperton. Like an eternally warming Balearic blanket, angelic, siren-like falsetto vocals from Johnnie Wilder lure from a distance as harmonies straight outta heaven drift across the airwaves.

It’s a serenade of the sweetest kind backed with sweeping cellos, soft keys and laidback acoustic guitars. A dream-inducing, drifting beauty that has been sampled numerous times by the likes of A Tribe Called Quest, The Pharcyde and Hudson Mohawke and even covered by the legendary George Benson.

On the flip side, a trademark Heatwave mid-tempo funk number, in the form of ‘Ain’t No Half Steppin’. Beginning with a head spinning intro that leads into a true showcase of the group’s collective power on the mic. Mario Mantese jams out on the bass as blaring horns, lively strings and grooving chord struts turn this up about as hot as you can get. Sultry, soulful and smooth bursting at the seams with funk richness it’s long been a staple of the some of the best DJs out there and famously sampled by Big Daddy Kane, amongst many others.

2023 REPRESS - Rare Brazilian Bossa Nova - Latin album - Comes with insert/liner notes & packaged in a gatefold jacket - 180g TANGERINE COLORED vinyl limited to 500 copies w/obi strip // Marcos Valle needs little introduction, born in Rio de Janeiro in 1943, Mr. Valle is an award-winning/chart-hitting Brazilian singer, songwriter and record producer. He was raised on a staple diet of classical, Brazilian popular music and North American jazz. Marcos Valle grew up to be one of the most influential & innovating musicians of the Bossa nova period and is regarded as one of the greatest Brazilian artists of all time. He has recorded albums for North American labels such as EMI, Warner Brothers & Verve_cementing his career with a series of tight musical workouts moving seamlessly between funk, samba, soundtracks, soul, jazz, dance and rock. Valle contributed to some of the most important recordings by artists including Sarah Vaughan, Frank Sinatra, Sergio Mendes, Leon Ware, Chicago and Airto Moreira. Mr. Valle's work has been sampled/remixed by major artists from the likes of Jay-Z, Kanye West & Madlib.One of Valle's favorite bands to frequently collaborate with was no doubt Azymuth, who took their name from a Valle song!Azymuth (Bertrami-Malheiros-Conti) started their individual careers in the 1960s in the emergent Bossa nova and jazz scene of Rio, living in the same bohemian block in Copacabana and playing in small bars as session musicians under various other names.It was the early 1970s when Azymuth really began to cause a stir and Marcos Valle invited them to record on a soundtrack LP he was doing. The unique Azymuth sound was now born: a mix of electronic music, samba, funk and jazz that they defined as MPB-jazz (MPB stands for Musica Popular Brasileira). Over the decades Azymuth released extremely successful albums (selling millions of copies) on labels such as Polydor, Som Livre and Atlantic. Hitting the charts on multiple occasions, Azymuth played at the Monterrey and Montreux jazz festivals and at venues around the globe.The band has worked with legendary musicians from Joe Henderson to Stevie Wonder and they've also been remixed/sampled by artists such as Flying Lotus, will.i.am, MF DOOM and Peanut Butter Wolf. Their unique brand of fusion-music has influenced three generations of musicians, DJs, and producers. Music journalists across the spectrum from mainstream to underground, celebrated these raw yet wildly imaginative and musically accomplished tracks that were a revelation of jazz, funk and disco, with some even stating that the roots of EDM were on display in their early recordings.On the album we are presenting you (Brazil by Music - Fly Cruzeiro) the listener is getting yet another fantastic early Valle/Azymuth collaboration. Released in 1972, this rare album was pressed and gifted to customers of the `Cruzeiro' airline company. This promotional record came as no surprise because the connection between Cruzeiro Airlines and Valle was very tight (Valle's father was the manager and his brother was a co-pilot there).Next to the Valle/Azymuth material present, other songs include some of the all-time best Brazilian standards originally written by renowned artists such as Jorge Ben & Antonio Carlos Jobim. Take a flight with us through this fantastic album and into some of the best Jazz, Funk & Bossa Nova the Brazilian musical landscape has to offer.Tidal Waves Music now proudly presents the first ever vinyl reissue of `Fly Cruzeiro' since its release in 1972 (only 500 copies were pressed upon its original release in 1972).

Dreißig Jahre Orphaned Land! Zu Ehren des 30-jährigen Bandjubiläums veröffentlicht die israelische Metal-Band ein neues Live-Album "A Heaven You May Create", das die Aufnahmen einer ganz besonderen Show enthält, die Orphaned Land im Juni 2021 mit einem 60-köpfigen Symphonie-Orchester gespielt haben.Tauch ein in die elektrisierende Atmosphäre eines Orphaned Land-Konzerts und spüre die rohe Kraft und Leidenschaft ihrer Live-Auftritte, während sie ihre einzigartige Mischung aus progressivem Metal und nahöstlichen Melodien darbieten.Die Setlist von "A Heaven You May Create" umfasst die gesamte Diskographie von Orphaned Land und enthält ihre beliebtesten Songs. Von Fan-Favoriten wie "All Is One" bis hin zu tief introspektiven Tracks wie "Birth of the Three" bietet das Live-Album eine emotionale Reise durch ihre Musik. Erlebe die Fähigkeit der Band, Menschen mit unterschiedlichem Hintergrund durch ihre Musik zusammenzubringen und ein Gefühl der Harmonie inmitten einer geteilten Welt zu schaffen.Das Album fängt die Essenz der Botschaft von Einigkeit und Verständnis ein, die in der heutigen Welt besonders ergreifend sind, und dient als Erinnerung an die kraftvolle Botschaft der Band und ihr Engagement, durch ihre Musik Harmonie zu verbreiten.Dieses Live-Album ist ein Zeugnis für die Entschlossenheit und das Durchhaltevermögen von Orphaned Land in schwierigen Zeiten. Trotz der Einschränkungen, die die Pandemie mit sich brachte, zeigte der Auftritt der Band im Heichal HaTarbut in Tel Aviv, Israel, ihr unerschütterliches Engagement für ihr Handwerk und ihre Fans. Genieße 2 Bonustracks, die nur auf Vinyl erhältlich sind!Lasse Dich außerdem von der fesselnden Bühnenpräsenz der Band und von den visuell beeindruckenden Projektionen mit den 3 Live-Video-Bonustracks auf der im CD-Format enthaltenen DVD mitreißen. Die Kombination aus kraftvoller Musik und dynamischen Visuals steigert das gesamte Konzerterlebnis und hinterlässt einen bleibenden Eindruck bei den Zuhörern.

Ltd Edition! Das Darkwave Elektronik-Duo BOY HARSHER aus Northampton, Massachusetts veröffentlichen nochmals ihre Katalog-Klassiker in verschiedenen Farben!

The album was initially released by GoodVibe Records on June 19, 2001, with rights to the album eventually being acquired by Dreamworks Records. The label intended to re-release the album with five new songs, but Interscope Records consumed the label and all plans of re-releasing the album were shelved. On August 2, 2011, the album was re-released by Universal Music Group, to celebrate the album's tenth anniversary.

The album’s lead single "The Life" spent three months on the Bubbling Under Hot R&B/Hip-Hop Singles chart, where it reached number 9. It also peaked at number three on CMJ New Music Report's Hip-Hop airplay chart, and topped Billboard's Pacific Heatseekers chart.

Eventually, the album earned Mystic several accolades and award nominations. In 2001, Kludge magazine ranked it at number seven on their list of best albums of the year. In 2002, the album earned Mystic a nomination for Best Female Hip-Hop Artist at the BET Awards, where she lost to Missy Elliott. That same year, the album cut "W" was nominated for "Best Rap/Sung Collaboration," a new category, at the Grammy Awards; the song lost to Eve's "Let Me Blow Ya Mind," a collaboration with Gwen Stefani.

Um die neuseeländische Reggae-Superstars L.A.B. in Europa vorzustellen, veröffentlicht das Loop-Label ein Best-Of der ersten 5 Alben der Band als exklusiven 10-Track-Vinyl-Sampler.

BERTUS DISTRIBUTION INTRODUCES NORTH SEA JAZZ CONCERT SERIES

Bertus Distribution, in collaboration with NTR, AVROTROS and MOJO, presents a new vinyl series consisting of live recordings of legendary artists through the decades made at the renowned North Sea Jazz Festival.

The North Sea Jazz Concert Series will include officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper printed on reversed board. The records will be captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk.

For the first release in this series, the honour is given to one of the most famous jazz singers ever, Ella Fitzgerald. On Friday 13 July 1979, she gave a raucous and peerless performance at the festival then still held in The Hague. The "First Lady Of Song" worked her way with verve through standards like 'There Will Never Be Another You', 'Satin Doll', ''Round Midnight' and 'Mr Paganini'. Her accompanists that night were Paul Smith on piano, Keter Betts on bass and Mickey Roker on drums; a trio line-up with the power of a big band.

Future releases will include NSJ recordings by such notables as Dizzy Gillespie, Buddy Rich, Ray Charles, Dexter Gordon and Jan Akkerman. It will be a long-running series with the aim of releasing the most extraordinary NSJ performances on vinyl.

The first edition of the North Sea Jazz Festival took place in 1976 at The Hague’s Nederlands Congresgebouw with some 9,000 visitors. In the first year, jazz legends such as Sarah Vaughan, Count Basie, Dizzy Gillespie and Stan Getz performed alongside a host of artists from the Dutch avant-garde.

The festival, officially NN North Sea Jazz since 2018, has now developed into a major international event that is also known beyond the Dutch borders as an event where jazz from the past, present and future merges with other genres such as blues, soul, funk, hiphop, pop and more. Over the years, it has grown to fifteen venues, around thirteen hundred musicians and an annual audience of between eight-five and ninety thousand. Since 2006, the festival has been held in new wider venue, namely Rotterdam Ahoy.

Emm Gryner is an award winning singer, songwriter, actor and best-selling author. Emm sang and played keyboards in David Bowie's band, and appears on numerous recordings, including his landmark 1999 SNL appearance, Bowie at The Beeb and Toy. Bowie's acclaimed Glastonbury 2000 documents her performance in front of more than 100,000 fans at Worthy Farm. With Trapper she shared arena stages with Def Leppard, and she also helped bring the first music video recorded in outer space to the world.

Detroit radio formed the soundtrack of Emm's life and career and her brand new record is a celebration of that music. From Motown,jazz and pop, to Steely Dan, Fleetwood Mac and the Doobies, Business & Pleasure is infused with the sunshine soul and stellar playing of the late 70s and early 80s. These songs, produced by Fred Mollin, written with poet Michael Holmes, and recorded with drummer Shannon Forrest (Toto), keyboardist Pat Coil (Michael McDonald), bassist Larry Paxton (Alison Krauss), and guitarists Tom Bukovac (Taylor Swift) and Pat Buchanan (Hall & Oates, Dolly Parton), embody a take on yacht rock that sails deep into the 2020s and introduce the world to a bold new character: a powerful woman whose passion, presence, conviction, humor and grace serves to unite the world in

music, joy and love, once again.

Lipphead is a production duo consisting of veteran producers Blockhead (Ninjatune, Future Archive Recordings) and Eliot Lipp (Alpha Pup) creating eclectic instrumental hip hop that dances effortlessly between Blockhead's sample-based hip hop beats and Lipp's evolving synth-laden swing. Illustrated by artist Maddison Chaffer, the titular character serves as the group's mascot and as a tongue-in-cheek personification of the artist’s fused styles. In 2022, the pair released their debut LP ‘In the Nude’ via Michigan label Young Heavy Souls to critical acclaim.
Building on that success, Lipphead is back with 10 new tracks and a fresh selection of singles to introduce the forthcoming record entitled ‘From the Back’. Kicking off with the irresistible disco soul of ‘Midnight Brain to Georgia,’ the duo hits the ground running. The second single effortlessly guides the listener through a showcase of fluttering flute samples, jittery synthesizer flourishes, and a bassline that is sure to please even the most selective funk enthusiasts. Throughout ‘From The Back’, fans can expect an even groovier spin on their genre-blending mix of downtempo, hip-hop, and electro-funk, along with a healthy dose of the duo’s trademark sense of humor.
Reflecting on the album, Lipp states that “Lipphead really starts to perfect their stylistic fusion on this record. Plenty of oddball beats and goofy samples, but this time there’s an upbeat funk vibe throughout. ‘From The Back’ is basically a window to what goes on in Lipphead’s wild-ass brain.”

Mystical and moving, Wish Queen (aka Cleveland-based singer/ songwriter Grace Sullivan) takes the intangible feelings of desire and yearning (wishing), and transforms them into gorgeous melodies, ranging from danceable pop to deliciously introspective ballads you'd love to sit alone and cry to Blending her rich classic vocals and long hidden poetry with layered reverb and synth-based production styles, Wish Queen transports her listeners to a myriad of times and places all at once. Drawing inspiration from various Queens that came before her, including Billie Holiday, Joni Mitchell, Fiona Apple, Lana Del Rey, Weyes Blood, and Ethel Cain, Wish Queen has created a unique sweet spot that is all her own, and invites you to immerse yourself in her dream world. A hypnotic blend of dream pop, art pop, and indie folk, Wish Queen's debut album, "SATURNALIA," explores earthly cycles, heartbreak, and coming of age via Saturn Return. Recorded mostly in a garage in the summer of 2022, "SATURNALIA" is a true diamond in the rough, complete with breathtaking layers of synths, powerfully intuitive vocal harmonies, and a meticulously crafted hidden narrative. If you're looking for a sound that's been compared to Stevie Nicks meets Beach House, this music is for you. Make a wish!!

Essence of Life was formed in 1973 in Charlotte North Carolina at Johnson C Smith University.

Towan Butler and Craig Young were basketball players on scholarship who were singing in the shower after practice, when a man named Jock Johnson who was a business major who had graduated heard Towan and Craig singing in the shower and asked if we would like to be in a singing group that he was putting together, if we did he asked us to meet him later that evening at a location on campus.

When we arrived we were introduced to Jerry Johnson, who is Jocks brother, Kenny Lock and Larry Graves and Essence Of Life was formed. Essence Of Life has performed with such groups as Blue Magic, The Whispers and The Barkays to name a few.

Essence Of Life sang and danced their way into the hearts of fans all over the United States spreading love through high impact performances.

Legendary bass player, songwriter and vocalist of The Moody Blues and Rock and Roll Hall of Famer, John Lodge, is releasing his version of the iconic album ‘Days of Future Passed’, entitled ‘Days of Future Passed – My Sojourn’, to accompany his tour of the same name. The album was recorded over the last year, and has grown from John’s current live show as he, and his 10,000 Light Years Band, lovingly recreate this classic album. The album also features a special recording by the late Graeme Edge and performances by Jon Davison of YES. It is being released as part of John’s celebration of the album ‘that changed his life’, and with the hope that it will continue to introduce fans to the original iconic recording. The album’s orchestration is by John’s long-term collaborator, and great friend, Alan Hewitt. Now as a vinyl LP record.

Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics.

The new 12” series on Ballyhoo Records is dedicated to what label owner ‘Thee J Johanz’ describes as ‘Triptech Journeys’. The series takes the listener on a journey traversing old school house to mystical acid and everything in-between.

On volume 1, titled ‘There Is Power In Love’, side a gives us ‘Afrobot and Steven Pieters’ who deliver the perfect message of love. The artist ‘Strange’ then provides us with his stunning Indian style Charanjit Singh rag reworks. We then have raving madness from Goa’s finest ‘Deka’ whose track ‘Dance with me’ was a secret weapon played at a number of major festivals over the summer.

Flip it over to side b, we have ‘Thee J Johanz’ providing us with the perfect intro/outro tool for DJs (lets face it, there is simply not enough good ones on vinyl!) We then have ‘Sintaro Fujita,’ Ballyhoo’s best Japanese friend, delivering sharp and mystical vibes with his track ‘Are We Still Friends.’ Last but by no means least, snake charmer ‘Sid Ua’ slows it all down leaving us in a trance like state with his stunning track ‘Feels Familiar.’ Weird and wonderful music from a fabulous bunch of weird and wonderful talented outsiders, this cannot be missed!

Long-cherished underground stalwart Claus Voigtmann finally serves up his long-awaited new album Life Miles after many years of essential sounds on labels like Assemble and Intermission. He really shows his range here with a record that draws on his experiences of playing around the world in all sorts of different settings.

'Pinfire' and 'Transitory Moments' open up and take you to the heart of fabric, a club he has played so often, while 'North of the Sun' heads off into space on sleek electro rhythms while the likes of 'Abundance' bring cosmic melodic fun to a lively and inventive rhythm. Elsewhere there is the high-speed electro-funk of 'Flight Of Fancy' and the introspective downbeat trip 'Send Love To The Future' making this a varied and vital affair.

Native Soul Recordings has been around a long old time in dance music terms and now it looks back over some of its finest works with this first in a new series of Best Of comps.

Music writer Harold Heath is first up with 'Slipstream,' an effortless smooth late-night house cut with introspective chords and silky pads bringing real depth.

The Candy Dealers get more lithe and elastic with the spraying bass and jumbled percussive house of 'Train Of Thought' and last of all, Asad Rizvi remixes Jevne's 'Moderize' with a funky little bassline and chord vamps that keep you on edge. A tasteful package of timeless house grooves.

Chicago's Magic Touch label gets the Numero treatment. Legendary rare groove selector & DJ Red Greg's edit of Disco Holy-Grail "Why Do I Love You" is now available on 7" for the first time and housed in official Magic Touch Double Disco Smash 7" Company Sleeve. This tune has been making waves in the DJ community for years only after Red Greg introduced his crucial edit eliminating the studio fluff and dialing in the raw disco meat. Certified Floor Filler with a groove guaranteed to answer all questions on love.

Satoshi Suzuki (鈴木慧) described his musical practice perfectly on the OBI strip of his 1987 privately pressed LP - Tokyo Contemporary! consisting of 40% Jazz, 30% Soul, 20% Brazil, and 10% Kayokyoku - a musical mixture not too far off from what is now referred to as City Pop.

However, this archival compilation of Satoshi Suzuki's works presents a perspective of the City Pop sound not from affluent 1980s Japanese bubble economy-era studios and highly paid studio musicians, but from a one-person band making the most of the instruments in their home studio, inspired by musical traditions from around the world.

With notes of city pop, AOR, jazz, soul, bossa, and kayōkyoku - Satoshi Suzuki's intimately recorded pop songs are charming and full of wit, with a seasonal and poetic approach to these musical forms using only a drum machine and an array of digital synthesizers. Sounding a little like Pacific Breeze played on a Casio keyboard and drum machine, Uku Kuut soundtracking a SEGA video game, or the wonderful lo-fi works of Suzuki’s lo-fi homemade pop & jazz contemporaries Ronald Langestraat, Lewis, and Joe Tossini — though most of all, SUZUKI's works show a new and singular perspective of the bubble-era city pop of the Showa period.

Distant Travel Companion (​遠​い​旅​の​同​行​者​) introduces Suzuki's musical works to a wide audience for the first time, featuring remastered songs originally released over three privately pressed LPs from the 1980s, as well as a previously unheard CD from 1993. The original works were released in an impossibly limited edition of 100 copies each - printed and assembled on printing equipment at Suzuki’s company office and scarcely distributed, recording these songs at his home studio in his free time. The compilation's design and accompanying OBI and liner notes are a direct homage to the original releases.

Satoshi SUZUKI is a Japanese keyboardist, singer, songwriter, and music arranger. He is also an author of literature and winner of the "Shin-nihon-bungaku" (New Japanese Literature) Award. He was born in 1958 in Tokyo, Japan.

The forever exploring electronical entity of a band, Gusgus, has opened yet a new era in their unique sonic multiverse. With their 12th album, the course is set to a strange mysterious place called DanceOrama. A Rave-Mall in a nostalgic future, DanceOrama is the place to be, where you can experience infinite freedom, genre and gender free. Moving from the pulsating new-wave influenced techno pop of the last album “Mobile Home” (2019), Gusgus emits the vibe of DanceOrama on their new album as an arousing, melody-rich hybrid of 80s/90s parties and raves. The 9- track album is slated for a November 10th release. The release is evenly split up in euphoric fusioned pop anthems and genre-free instrumental journeys.

Gusgus‘ last album “Mobile Home” was the later of twin albums that found the band exploring early 80’s new wave influences and reviving them in the iconic Gusgus soundscape. The highlight on the album was a pulsating techno reggae track called “Higher” that introduced a new member into the band, Margrét Rán, the lead singer of “VÖK”.

Whereas on “Mobile Home”, the concept was stationed in a rural environment of a dystopian side reality, Gusgus now moves to the city. In this city of strange discomforting future omens, DanceOrama stands out as the rave-mall of freedom. Leaving the new wave influences, this album is a strange hybrid of the 80’s and 90’s parties twisted into a genre-free blend of arousing experiences.

The album consists of 5 instrumental tracks and 4 vocal pop songs, ranging from 105-158 bpm and exploring various influences from the 80’s and 90’s and even the 70’s in a strange fusion of techno, trance, italo-disco, house and pop that emits the rawness and innocence of previous decades. The pop songs are quite strictly set as stories related to the mysteries and rumors of DanceOrama. One track in particular will be very exciting for our fans, as it has been a regular final track on our live show since the album “Arabian Horse” in 2011. This is the track “Breaking Down” that was recorded during the album “Mexico” in 2013 with “Earth” and “Högni” on vocals but, due to emotional turmoil, has never been released until now.

"Join us as we welcome back New York Underground Funk Band with “Funk & Soul”, “Wanna Be Free”, and a previoulsy unreleased EP-bonus track ""By The Time I Get To Phoenix"" from the early 1970s — all a more psychedelic take on their funk sound.

Funk & Soul states, “I’ve got funk and soul...don’t have to worry about a doggone thing” — and we’d have to agree. imagine Sly and the Family Stone getting Jimi Hendrix for a session, then asking him to drop a fuzzed-out guitar solo. You might then end up with “Funk & Soul” — the heaviest, fuzz-driven Sly track you’ve never heard. Though it’s also NYUFB from start to finish.

Now, you’re in the right frame of mind for “Wanna Be Free” — the deep funk B-side that trades out the spirit of Jimi Hendrix for the spirit of Jim Morrison. With all the respect that is due to these greats, NYUFB crafts their own psychedelic sound in this raucous cut that features thunderous drums and alluring interplay between organ and guitar. This was certainly designed to free your mind, and we believe the group succeeds.

The B Side holds a very special treat— dig New York Underground Funk Band’s version of “By the Time I Get to Phoenix,” the Jimmy Webb-penned classic that gets a heavy soul treatment on PP12007. While covered many times, this hyper-syncopated interpretation is a standout with its long rap intro, call-and-response style singing and shimmering vocal harmonies.

These three tracks comprise one of our most exciting releases yet, as that promising band from the New York or New Jersey area further displays their remarkable range. These songs simply cannot remain buried. They’ve finally found their way to you on PP12007, and we hope you’ll get a hold of it while you can."

Welcome to Masters Series - for people who understand that some things just can't be tamed. (Read: these are scratchy, poppy, and rough recordings from busted acetates. Click the listen tab to preview quality. These are cleaned up as best we can get them - if that's not going to work for you, don't order!)

For this limited edition Masters Series release, we enlisted the help of two of the world's heaviest collectors and djs, and champions of the Preservation Project from day one, Supreme la Rock on Side-A, and Skeme Richards on the B-Side.

Both gentlemen tackled reworking and re-editing funky previously unreleased psych songs. Both songs, "Sad Country Boy" on Side A and "Your Mind" on Side B, are by unknown groups and both feature drum breaks intros - perfect for you to cut up, so you're gonna need two copies. We won't be mad at you if you feed the breaks and chop them up either. This one is for the heads.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the moldy basements from whence they came, we press them up to share with those who love to share.

The architects of soul are back with “Big Time Lover”, a 12-track vinyl LP album with highlights from this year’s “Soul On The Real Side #15” CD collection Tracks here are the building blocks of modern soul with a play list of mid-tempo Northern and Crossover Soul – classics and rarities.
It's brought to you from the West Midlands – the stomping ground of Real Side Records founder member Mr Tee.
The LP is packed with modern soul gems all culled from the incredible Captipl Reords soul legacy. They need little introduction to the UK rare soul scene, but here is a snapshot of a few highlights.
Our show opens care of the million-selling group Cornelious Brothers & Sister Rose from Dania Beach, Florida. They shot to fame in 1971 with their hit “Treat Her Like A Lady” and the follow-up “Too Late To Turn Back Now”, both certified gold discs. Here we feature the title track of their 1973 album Big Time Lover.
Trk. 2, “The Game Is Over”, is by the short lived California girl group Brown Sugar featuring the one-hit-wonder Phyllis Nelson. The legendary Tavares Brothers perform trk. 3 while George Soule leads the way on trk. 4 with his #35 R&B hit “Get Involved”. Bettye Swann from Shreveport, Louisiana, delivers a heartrending performance on “My Heart Is Closed...” (trk. 5), her debut recording for Capitol in 1968.
The album closes with the fabulous C. M. Lord “Oh Mama
(Your Daughter’s A Woman Tonight)”

Minimal don Kepler strikes a balance between dancefloor utility and introspection on his latest record, and debut for X-Kalay. Big house and techno incursions straight out of Yorkshire – Leeds, to be precise. It’s a strong testament to the region’s long standing reputation as a hotbed for late-night minimalism.

Subtle flourishes and details stand out across all four tracks. Uncovering relics from ancient futures, ‘Lowlife’ stimulates the pineal gland with a mescaline-strength take on classic ‘90s tech house. While it dials the trippier elements down just a tad, ‘Control’, like its predecessor, recalls golden era Wiggle or Asad Rizvi under his Silverlining moniker.

No half measures on the next one. Bringing heft in spades, ‘Stranded’ comes hurtling in with swinging, jacking 4 AM NRG. It’s some serious gear, which makes the EP closer such an unexpected left-turn. ‘Need’ offers proper heads-down introspection, complete with widescreen, nebulous chords that ripple out into the vastness of space.

Stefan Vincent is set to release his first solo EP on newly founded Boomstraat 1818. Following his contribution on the label's previous release, the Dutch producer has crafted four tracks in his signature style. The A-side provides two club-ready tracks, leaving the B-side to take on a more restrained approach, offering two deeper cuts. ‘Yearning Echoes’ is a high-energy track with filtered stabs and aggressive hihats, clocking in at 138 bpm. In contrast, ‘Merest Hint Of A Pulse’ takes the tempo down a notch and offers a multi-layered percussion-based tool. On the B-side, 'Silent Observer' takes a deeper and introspective route with its hypnotic rhythms and subtle melodies, while 'Fetishizing Oblivion' offers a colorful electro track guided by a prominent bassline and elegant pads.

Are you Looking for Love? Advice? Good Luck? Then you’ve come to the right place. The second release in the Psychic Readings catalog, Peach continues to explore her sound bringing us 3 tracks dedicated to the dance.

On one side, The Art of Casting Spells will bewitch you with its basslines. As they go from squelchy to stripped back, the track is an upfront yet ethereal ride in true peak time Peach style. Then, a track inspired by the sensation of butterflies in your sacrum - Flutter is a deeper cut for the heads down, introspective dancefloor moments. Both come complete with sassy stabs, moving pads & bouncy bongos - all of which are becoming a staple of her sonic palette.

On the flip, Gay Dreams brings us a starry-eyed escape into fantasies. Delicate synths flirt with the weighty bassline, as sentimental pads carry us into a slow surrender of emotion.

All the tracks are a testament to her many moods as a DJ. For club use or home listening, this is an EP dedicated to the dance.

Michael Chapman (1941-2021) released his debut album Rainmaker in 1969 on Harvest. He went on to release over fifty albums and influence many with his evocative songwriting and guitar prowess. From heady jams to expressive ballads to experimental noise, Chapman’s work continues to inspire. Tompkins Square recruited Henry Parker to curate a collection of covers by working musicians from Chapman’s home turf in Northern England. With stunning artwork by local artist Bunty Marshall mapping the important places in Michael’s life, this 12th volume of Tompkins Square’s Imaginational Anthem series is the ultimate tribute to a very dearly missed artist. Notes from Henry Parker: Tompkins Square approached me in Autumn 2022 about putting together a tribute album to Michael Chapman who had passed away one year ago, on my birthday, in 2021. I remember it well; Michael Chapman had always been a huge inspiration to me since starting out on the acoustic guitar and was the first artist I had heard who played the instrument with that heavy thumb, drop tuned sound. I first got the chance to see him live at the Bradford experimental music festival Threadfest in 2015 and then went on to watch him play many more times, in the northern towns of Halifax, Hebden Bridge and Preston, also getting the chance to support him on a couple of his Yorkshire dates in 2018, in Saltaire and his hometown of Leeds. With both Michael Chapman and myself proudly coming from the county of Yorkshire in northern England, Tomkins Square and I decided to make this compilation decidedly Yorkshire focused, bringing together seven other artists from the county who have drawn influence from the profound music of this man.For those who don’t know, Yorkshire is an area that spans much of northern England, with its people taking great pride in the county, never too seriously, and poking fun at the “soft south” or it’s near neighbour Lancashire. Michael’s sound always spanned from introspective folk songwriting to more experimental forms and naturally so does this album, created for Tompkins Square. When it came to choosing musicians to contribute to the record, I was grateful for the Yorkshire limitation on who I could draw from, as the resulting album is comprised of eight artists, who have all shared stages with each other across the folk and experimental scenes in the area. The lack of “bigger” names on the record feels natural, there’s no ego about this project as there never was with Michael, who always seemed content touring the smaller clubs and making records for anyone who was interested. The artwork for the project came together organically, and firmly within the Yorkshire cottage industry. Two months before I was asked to put this album together, I had played a show in Leeds for the launch of a new zine, centred on folklore and mythology. The artist and founder of the zine Bunty has an exceptional eye for detail and a profound love of Yorkshire landscape and culture. Her intricate maps and illustrations created for ‘Hwaet’ zine were the perfect starting point the for this record, and the cover art and inner sleeve is an ocean of detail for Michael Chapman’s incredible life, music and his connection to Yorkshire

For Fans Of The Nymphs, The Gits, Jeff Buckley, Babes In Toyland, Brandi Carlile, Grace Potter, The Hangmen, PJ Harvey. Originally introduced to music fans as the leader/frontwoman of the Nymphs, Inger Lorre’s following remain loyal. Since the Nymphs 1991 debut on Geffen Records, her releases have been cherished by a loyal fanbase. Josie Cotton has signed Lorre to her Kitten Robot label for her first solo studio album since Transcendental Medication. Gloryland is a collection of 10 new songs, taking Inger into uncharted musical territory but still imbued with the elements of loss, despair and redemption that echo her past recordings. With Gloryland Inger celebrates her unique voice with total freedom, crossing genres from singer-songwriter to Americana and gospel. Working with Nashville multi-instrumentalist Buddy Woodward, she creates gorgeous oceans of sound with esoteric string instruments, alongside Angelique Congleton (the Hangmen) on bass, Eric Contreras on drums, Matt Lee on electric guitar, Jordan Shapiro (Eddie Spaghetti) on pedal steel guitar and Paul Roessler (Screamers, 45 Grave, Nina Hagen, Twisted Roots) on keyboards. Gloryland is produced by Roessler (Lords of Altamont, TSOL, Richie Ramone), Woodward and Lorre. “Inger retains her strength as a songwriter and performer without losing any of her sensitivity, fragility and danger. I always look forward to what she does, it never disappoints” - Henry Rollins // “Inger Lorre is a magician, a shaman…that kind of witch-doctor ability for performing”

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Mostly known for his work as founder, vocalist and main songwriter for The Legendary Pink Dots, Edward Ka- Spel has long forged an equally prolific career as a solo artist given to sometimes exploring similar sonic realms as his group but clearly working at such a pace the need to channel ideas and songs in this capacity must be enforced. And just as well too, because Edward Ka-Spel is one of those rare and exceptional artists whose high workrate doesn’t betray a keen sense of quality control. Long known as somebody unafraid to venture wherever he pleases, his work has for a few decades now long traversed the more outward-bound or so-called ‘fringe’ areas of electronic music, psychedelia, hypnotic rock, kosmische sounds and the avant-garde. Heartily sewn into all of this is Edward’s fantastic grasp of spinning a twilight tale or spiralling deep into the mind’s recesses to craft a song from comparatively nimble melodies and words of Kafka-esque proportions. It’s a strikingly rich blend that’s always deserved far more attention than the cult audience it thankfully at least has.'Tales from the Trenches' is the second release by Edward for Lumberton Trading Company. Following on from the abstract-flavoured ‘Permission to Leave the Temple’ 10” released at the start of 2023, this LP collects eight tracks of a personal nature mostly pinned into place by some refined electro rhythms, molten cosmic textures, plaintive strings, introspective keys and a late night hue that sways effortlessly between the beautiful, haunted and even, a couple of times, a steam-pumped and sweat-ravaged dancefloor. Limited to 500 only, 'Tales from the Trenches' delivers exactly as the title indicates. Everything may at first feel ominous or sombre in tone, but there’s also a glimmer of hope laid bare in all its sun-drenched glory poking between the cracks.

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

Everything clicks on Safe to Run, the fourth album from singer, songwriter Esther Rose - It's the quiet culmination of years spent fully immersed in a developing artistry, and presents Rose's always vividly detailed emotional scenes with new levels of clarity and control As with previous work, her songwriting transfigures the chaos and uncertainty of a life in progress, but here she introduces a newfound pop element that attaches unshakably catchy hooks to even the darkest stretches of the journey. Rose takes an unblinking look at her own vulnerabilities as well as more universal concerns, somehow never taking herself too seriously in the process. This manifests as a critique of the insidious sexism of the music industry on "Dream Girl," but quickly melts into a hazy memoryscape of the dive bar drama and suspended hovering of her early 20s on "Chet Baker." The song "Safe to Run" (a gorgeous duet with Hurray for the Riff Raff's Alynda Segarra) directly merges the personal with the global, superimposing feelings of spiritual displacement onto the larger, looming dread of climate grief. Rose breathes in the ecstasy of the natural world in one line and makes fun of herself a few bars later. There are ghosts in the room for most of her songs, but she's invited them in and is cracking jokes with them over a drink or two. Ultimately all of these new advancements become twinkles of light in the background as they fold into the big picture impact of the songs themselves. Esther Rose translates her world into eleven curious and captivating scenes. While the songs are stunning one by one, absorbing Safe to Run as a whole feels like witnessing something taking shape, experiencing the headspins of the elevation and the slow return to equilibrium as the clouds start clearing

Million Seller is the new electro-acoustic album and project led by Matt Calvert, one of the founding members of the underground alt-rock sensation Three Trapped Tigers The inspiration for the project originated as Matt revisited his collection of early 70s releases by Herbie Hancock's Mwandishi group - some of the pianist's most overlooked and least understood albums. "The concept of Million Seller was to create a contemporary sound with similar elements to the Mwandishi band, putting the electronics and percussion at the forefront, merging organic and synthetic." Mwandishi (originally a sextet, later a septet with added electronics) had three horn players: Million Seller has none, instead using three synth players: Calvert himself is joined by Stale Storlokken of free- form experimental legends Supersilent, and by the unclassifiable improvisor Matthew Bourne. The line-up is completed by drummer Dave Smith, who brings his comprehensive knowledge of the Gambian tradition of Sabar drumming alongside his extensive jazz background, and a trio of guest musicians: Mamadou Saar on sabar and djembe drums, Kadialy Koudate on kora, and Sam Wilson on contemporary percussion. The results are a striking fusion of ancient and modern sounds, of heavy yet playful synth interactions topped by driving acoustic percussion, of wild improvisation mixed with moments of ambient beauty, all creating a sonic identity that's every bit as unique, wide-ranging and unforgettable as its inspiration.

The Roger Webb Sound's Moonshade is one of the coolest records ever. Originally appearing via the legendary De Wolfe library in 1971, it's a sumptuous jazz-soul-funk instrumental set. Full of melodic, melancholic yet sun-drenched songs, rich with colour and contrast, it was composed by self-taught jazz pianist Roger Webb and features vocal performances by Barbara Moore. That's right; *the* powerhouse library music duo! It makes Moonshade the perfect precursor and accompaniment to Barbara Moore's eternal classic Vocal Shades And Tones. It will come as no surprise that original copies, if you can ever find them, will set you back north of 200 notes.

Moonshade is a phenomenal showcase of Brit maestro Webb's own roots in jazz. Those roots are served up here with a plethora of fast-stepping rhythms that truly give flight to the vocals of Barbara Moore, as they soar in wonderful ways. Moore sings wordlessly throughout, allowing her voice to act like another instrument in concert with the horns and keyboards elevating the fine arrangements. This is a deeply beautiful record.

The album opens with the ornate Baroque pop splendour of the sun-dappled melancholia of "Sunshine". Strings, piano and wordless female vocals combine to create this brief beauty of unimaginable grace. The cool "Gentle Eyes" features haunting and beautiful vocals, smooth jazz piano and horns and a general easy vibe without being easy listening, if you know what we mean. You do. Just listen. The pounding "Heavy Lace" is one for the beat-heads, funky open drums (!) with muted organ, bassy piano chords and ace horns. Sampled by Quakers for their great debut album on Stones Throw. The nostalgic "Yesterday" is wistful and beautifully melodic instrumental soul music with gorgeous acoustic guitar and flutes. It's followed by the light, lilting "Petal Soft" which features more Baroque styles, overflowing with flutes and harps. The bright, bouncing "Coaster" is an easy-going piano-led, guitar-driven swinger whilst "Grey Sigh" is another classic. A real highlight, with more fantastic propulsive drums and percussion and plaintive wordless vocals courtesy of Barbara. Speaking of which, the soft, sweet Rhodes jazz of the lilting "Sweet Thing" is another staggering showcase of the brilliance of Barbara. Just astounding.

Head straight past the honky-tonk-by-numbers piano jaunt "Cough Drop" and luxuriate in the soft, delicate beauty of the album's melodic, cyclical title track, "Moon Shade". Fragile flutes and acoustic guitar float across judicious bass notes before giving way to slightly ominous piano and, again, those beguiling wordless vocals. And then round again to the flute refrain of the intro. This time with the vocals to see us out. Majestic drama jazz at its finest. The cello-and-flute adorned "Sapphire" is a fluid orchestral beauty whilst "Interweave" rides with more urgency in its string and bass stabs. When the warm keys enter, it's a bonafide mellifluous wonder. The softer "Musette" begins in beautifully gentle fashion before pivoting for a driving yet elegant piano middle section. It reverts back to the mellow intro, for its outro. Understood? The melodic organ and prominent rhythm section running through "Reminiscence" makes for a delightfully understated folk-funk instrumental whilst the cool, rolling piano feels of "7.30 For 8.00" seem to perfectly suit the phrase "dinner jazz". It's no bad thing, c'mon. This classy, memorable set is rounded out by the half-minute mince of the Barbara-blessed "Sparky". It's just over too soon!

The audio for Moonshade has been brilliantly remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Silent Force is an album by Within Temptation, released in 2023. Silent Force includes a.o. the following tracks: “Intro”, “Jillian (i'd Give My Heart)”, “Aquarius”, “It's The Fear” and more. The album is a High Quality heavy metal LP.

2023 Repress

Translucent Orange Vinyl
The San Francisco Legend, Larry June, returns with the aptly titled Orange Print, which maps out his own vision for success. With themes of health, wealth, numbers, and diversifying your income streams, Larry June flexes the philosophies that have helped him go from street hustler to made man. With production from heavyweight producers such as Jake One, Sndtrak, Cardo, & Sledgren, features include Money Man, Trae The Truth, & DeJ Loaf.