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Following the release of Netflix's inspiring documentary short 'Hold Your Breath: The Ice Dive', Galya Bisengalieva presents her official soundtrack. To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax. She uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. Aiding in the use of the dive to make comment on both global warming and the pandemic, the soundtrack commands attention while giving the characters their own space to breathe. Galya explains; "Composing music to Joanna's story was a completely new challenge. Until now my writing has been based on more abstract concepts but now I had the opportunity to engage closely in a clearly defined journey of an individual. A story of the freediver and her attempt to break the world record (men's and women's) for distance travelled under the ice, no fins, no wetsuit, on a single breath. What Joanna achieved is truly inspiring and incredibly brave. It would have been extremely easy for me to focus on the jeopardy of her record attempt. However, the story that is being told is her love of the cold water, her sister, family, and the nature she communes with every day. My music needed to reflect the personality of an extremely determined and loving woman. In order to achieve this, I used the violin as her voice, high harmonic soaring melodies. This I juxtaposed against layers of low warped drone and nature sounds, using field recordings of underwater, cutting of the ice for the dive and the howling wind in extreme weather conditions in Finland. The music hints at danger and the power of nature but always comes back to Joanna's intimacy with the icy water."

Unmittelbar nach der Veröffentlichung seines Debüt - Album "Where I Come From" attestierte der SPIEGEL: "Großartiger Start eines Supertalents", die NEUE MUSIK ZEITUNG kürte das Album zum "Debüt des Monats" und die renommierte "Münchner Konzertgesellschaft" verlieh ihm den Jazz - Förderpreis.
Mit dem neuen Album hat Sandro Roy nun augenscheinlich seine künstlerische Richtung gefunden, denn zum einen stellt er erstmals eine feste Besetzung, die Sandro Roy Unity Band, vor, zum anderen lässt er hier und da aber auch aufblitzen, dass er musikalischen Hochkarätern wie Bireli Lagrene, Jermaine Landsberger, David Gazarov oder Martin Taylor ein gern gesehener Partner im Studio ist.
Der auch bei SKIP schon mit eigenen Alben in Erscheinung getretene David Gazarov lässt das Django Reinhardt - Stück 'Place De Brouckere' in fast monkischer Schule daherkommen und zu Höhepunkten geraten die Begegnungen mit dem legendären Bireli Lagrene an der Gitarre, sei es die Hoagy Carmichael - Ballade 'The Nearness Of You', der Stevie Wonder-Klassiker 'You Are The Sunshine Of My Life' oder 'Dinelo', bei dem Sandro Roy und seine Band feinfühlig aber stets mit modernem Blick den Di Piazza-Klassiker mit Bireli Lagrene präsentieren. Und natürlich darf auch sein langjähriger Begleiter Jerome Weiss am Piano nicht fehlen, der in der Henry Mancini-Komposition 'Sabrina' den vielleicht klassischsten Zugang zu Sandro Roy offenlegt. Damit wird die Bandbreite unterschiedlichster Konstellationen abgebildet, die derzeit von Sandro Roy angeboten werden. Sandro Roy wird im Duo, Trio, Quartett, mit Orchestern und als virtuoser Solist sein Publikum weiter vergrößern, man darf gespannt sein, welche Ensembles er für sein Publikum auf den Festivals und in den Clubs bereithält.
Die CD erscheint im wertigen Digisleeve, das Vinyl kommt klassisch schwarz!

Originaire de Mongolie, The HU ne ressemble à aucun autre groupe de rock dans le monde. Depuis leur sortie, le groupe s'est hissé à la première place du Billboard World Albums Chart, à la première place du Top New Artist Albums, et au Top 5 mondial du Hard Rock Music Album Chart. Ils ont effectué de nombreuses tournées dans le monde avec des spectacles à guichets fermés en Europe, au Royaume-Uni et aux États-Unis. Après le succès de l'album The Gereg, qui a non seulement débuté à la première place, mais dont les succès rock viraux «Wolf Totem» et «Yuve Yuve Yu» ont atteint le Top 10 des radios rock. The Hu sont de retour avec un nouvel album, Rumble of Thunder. Cet album relie le monde à la culture mongole et à ses valeurs fondamentales uniques de préservation de la nature et de connexion spirituelle avec la terre.

Note price increase and cat number change from last time around. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain. The musicians in Don Cherry's New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band Don and Moki Cherry, Christer Bothén, Gérard "Doudou" Gouirand, and Naná Vasconcelos performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out) all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothén on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble's achingly tender rendition of Jim Pepper's oft-covered beacon of spiritual optimism, "Witchi Tai To," lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert's laid back, communal vibe feels like an attempt by the Cherrys to show Don's jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. With liner notes by Magnus Nygren. Track list: 1. Intro: Dha Dhin Na, Dha Tin Na 2. Butterfly Friend 3. Elixir 4. Amazwe 5. Interlude with Puppets 6. Ganesh 7. Elixir Reprise / Witchi Tai To 8. Resa 9. Relativity Suite, Part 1 10. Berimbau Solo 11. Interlude / North Brazilian Ceremonial Hymn 12. Elixir Reprise / Ganesh 13. Ntsikana's Bell / Traditional Melody

Note price increase and cat number change from last time around. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese who later recorded Don's classic Organic Music Society and Eternal Now LPs invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967-68. Track list: 1. Summer House Sessions 2. Summer House Sessions.

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

After 11 years of existence, Gratitude Trio releases on September 2nd, 2022 its 4th album " Birth" on the remarkable Belgian label W.E.R.F. RECORDS in partnership with Mercury and Collectif Koa from Montpellier, France.

Protagonists Jeroen Van Herzeele (sax, analog synths), Alfred Vilayleck (electric bass, fx) and Louis Favre (drums, fx) worked for more than a year on this new album, continuing to develop the musical framework of the previous album: a blend of sensitivity and groove, contemplative vocals and raging solos.

Mixing acoustic and electronic sounds, the compositions of reflecting realities that inhabit them: to let oneself be touched by the beauty and the dark sides of life, to be amazed by nature, to accept what we cannot change, to create bonds, to commit ourselves to fulfill ourselves.

Music that is both sophisticated and organic, with an energy and boldness that characterize them.

Gratitude Trio is a Belgian/French band based in Brussels known for their strength and sensitivity that open people's hearts. The music of this power trio is tinged with spacy sounds, African rhythms, sexy grooves, endless trances, sensitive ballads, crazy free jazz, and a large dose of unpredictability. Gratitude exists since 2010 and has performed in prestigious venues in Europe. Their two first albums «Gratitude» and «alive» released in 2012 and 2015 under the label El Negocito Records have been very well received by the critics and the enthusiastic audience. The 3rd album «Gratitude III» was released in April 2018: new sound, new approach, but same soul. Gratitude Trio impressed! Indeed, voices and EWI (Electronic Wind Instrument) enrich the sound palette while the musicians have developed a new way to create together.

The brand new 4th album "Birth" is an absolute masterpiece, a synthesis of a decade of adventurous musical explorations.

A partner album to the previous Miles release "Decoy," this album released in 1985 is also produced by Miles and loaded with the synths of Robert Irving. This LP has some surprising new looks at pop tunes by Micheal Jackson and Cyndi Lauper and also features the return of John McLaughlin on guitar, and a guest performance from Sting. This is the final installment of the prolific and brilliant collaboration between Miles and Columbia Records. Also featured on this album are Al Foster, Kenny Garret, and Daryl Jones.

THE CLASSIC SLAB OF PURE 80's DOOM METAL FROM THE SWEDISH
LEGENDS – PRESENTED ON SINGLE BLACK VINYL
Candlemass was formed by bassist & songwriter Leif Edling in Stockholm,
Sweden in 1984 & is well known for its epic doom metal, having a great influence
over a generation of the genre's subsequent greats such as Paradise Lost & My
Dying Bride - Candlemass themselves taking a large influence from Black
Sabbath.
'Ancient Dreams' was Candlemass' third album, released in 1988 & it featured a
natural progression of slow- mid tempo epic arrangements from their previous
release, 'Nightfall' - perhaps even more distinction between slow & faster parts -
with the unique tones & unmistakable voice of Messiah Marcolin still dominating
proceedings on this pure doom metal classic.
With a perfect balance between melody & sheer heaviness, it is still debatable as
to whether this is the ultimate Candlemass & therefore greatest doom metal
album of all time, with some giving this title preference over the seminal 'Nightfall'
album.
'Ancient Dreams' was produced by Leif Edling & Candlemass & was recorded at
Stockholm Recording studios in 1988. This edition of 'Ancient Dreams' is
presented on single black vinyl, featuring the original cover art.

Limited edition 300 copies. Sababa 5’s debut single features the talented Japanese singer and belly dancer Yurika. The two songs - Crossroad of Love (Ai no Kousaten) and Blue Universe (Aoi Sekai) – blend Yurika's dreamy vocals and texts with the band's 70's sensibility and Israeli soul music. As the band plays a mediterranean groove of both Israeli and Arabic origins, Yurika's Japanese lyrics float effortlessly on top. Sababa 5 and Yurika met in the summer of 2017, when Yurika was in Israel for an internship at the Orly Portal Dance Company. Yurika, performing at the time as a belly dancer with Boom Pam and Ouzo Bazooka, wrote lyrics in Japanese for two melodies composed by Sababa 5 guitarist Ilan Smilan. Both songs on the single are love songs, love that is both personal and universal. The combination of lyrics in Japanese, Yurika's gossamer vocals influenced by the Kayokyoku style and the Israeli sound of Sababa 5 creates a unique and interesting sound. Yurika (vocals), Ilan Smilan (guitar), Amir Sadot (bass) In the recording Lior Romano (keyboards) and Assan (drums).

ABOUT SABABA 5 Sababa 5 was formed in 2016 by Amir Sadot and Ilan Smilan, both members of TIGRIS band and the Hoodna Orchestra. The four members of Sababa 5 are already well known for their work with some of Tel Aviv's top artists/vocalists such as Gili Yalo, Liraz Cherchi, Sari and Reno, Ester Rada and Kutiman - to name but a few. With influences that range from Wrecking Crew and The Funk Brothers recordings from the 60's, to analog Middle Eastern music from the 70's, the sound of the band constantly evolves around different genres and rhythms. Yet, in its core, Sababa 5 remains very much a groove-centric band. The main source of inspiration for the band are "lehakot ketzev" (beat groups) from Israel that played innovative combinations of psychedelic rock mixed with Mediterranean Arab music during the 60’s and 70's. The fusion of East and West, along with the new spirit brought by the band members, creates a unique mix of styles that comes together into a new and original work. The band is currently working on a new instrumental album alongside the production of new songs for local singers. ABOUT YURIKA Born in the Chiba district on the eastern outskirts of Tokyo, Yurika began her journey towards belly dancing at the tender age of five, taking up lessons in jazz dance. After high-school, she applied for belly dancing lessons almost by chance - yet as she quickly fell in love with the music and the nature of the movements, Yurika knew this is what she was meant to do. Before long, Yurika began traveling around the Middle East, learning belly dancing in different cities and countries like Egypt, Morocco and Turkey. Whilst in Turkey, she met the famous Istanbul-New York based female darbuka player Raquy Danziger - who later invited her to perform in Israel. Once in Israel, Yurika began studying with Orly Portal, a master of contemporary folklore dance. After finishing her studies with Orly, Yurika remained in Tel Aviv and joined bands like Boom Pam and Ouzo Bazooka as a dancer. In her work with Sababa 5, Yurika is featured as a vocalist for the first time.

Since his introduction in the 60’s, Roger Damawuzan has lit stages on fire, whether it be with The Rickers Orchestra or with The Melo-Togo Orchestra (taking home 2nd place for the first National Festival of Tologese Music). His first 7" vinyl Wait For Me is a holy grail for diggers all around the world. It was such a hit that Togolese music is and will forever be stamped by Roger Damawuzan. He was principal in introducing Gazo, Akpesse and Kamou rhythms to modern day soul music. Relentless and unstoppable, Roger Damawuzan is now making a comeback with a heavy funk 7 inch!

This release contains an unreleased single from the album Seda , which will be available on October 14th 2022. Such a force of nature, this album could have been only captured, if not mastered, by one studio. Such mission was accomplished by the legendary studio OTODI (Office Togolese of Disks) by utilizing solely analog equipment to translate and to breath all of Damawuzan’s soul into this album. Roger Damawuzan could have been supported by only one group. Led by Peter Solo, the members of the Vaudou Game and Lomé’s most talented musicians are at Damawuzan’s disposal for this new soul DJ friendly vinyl.

When you talk about the origins of jungle music, DJ Dextrous is most definitely cited as a name that helped define the genre. His tracks were always on heavy rotation on the mighty Kool FM and every Jungle/DnB radio station across the country. Dextrous VIP dubplate specials were weapons in the record bags of Micky Finn, DJ Ron, Kenny Ken and his old mate from school DJ Hype!

The 1994 Jungle anthem Charged was released on the ground-breaking Suburban Base Records imprint as part of a ‘King Of The Jungle’ Trilogy. Now updated for 2022 Charged gets a couple of fresh licks from two modern day jungle specialists, backed up with original and VIP exclusive versions, all packaged on a beautiful 12” vinyl picture disc.

First up are the mighty Serial Killaz who’ve taken the original track and applied their trademark, award winning sound which has seen them releasing on Congo Natty, Philly Blunt, Souped Up and their own self-titled Serial Killaz label.

Next up is AKAS who’s recent Old Skool New Skool track on DeVice spend almost 3 months in the Beatport Top 10!! AKAS keeps things jungle for his Charged remix but tweaks the elements and pushes the genre to have the maximum impact on any dancefloor across clubs or festivals.

On the flip is an original unreleased VIP dubplate version, sourced from the archives or Da Kings Of The Jungle studio DAT recordings, which DJ Dextrous was playing in his sets exclusively.
Finally we have the classic original mix of Charged which has been beautifully remastered from the original source recording to make this picture disc release sound as good as it possibly can.
This is an extremely limited pressing & will never be re-issued so we’d advise jungle aficionados, both new & old, to buy on sight!!

Alexandra Sauser-Monnig and Amelia Meath have been yodeling together for upwards of fifteen years – in the backseat of a Prius while on their first cross-country tour, on back porches and backstages. It’s what led them to Fruit, their debut release as The A’s – a joyous ten-song collection spanning genre and decades, with interpretations of traditionals, lullabies, and an original song, it weaves between the weird and the wonderful. “Why I’m Grieving,” originally recorded by the DeZurik Sisters, was the inspiration for the A’s existence. The A’s reach into the past to hold hands with the DeZurik Sisters, two farm girls from rural Minnesota who taught themselves to yodel amongst all their animals, in a continuing celebration of the tradition of folk eccentricity and whimsy. The A’s played their first show together in 2013 after Sauser-Monnig first moved to North Carolina, where Meath had been living at the time, but it wasn’t until summer 2021 that they thought seriously about making Fruit. They decamped to Sylvan Esso’s Chapel Hill studio, Betty’s, for two weeks in the midst of a balmy and blooming Carolinian summer. They rehearsed during the day, deconstructing yodeling parts phonetically and staring absurdly into each other’s eyes as they practiced tongue twisting harmonies - and recorded in the nighttime, candles lit, a flickering glow against the windows framing the violet twilight outside. “There was a lot of giggling during the session,” Sauser-Monnig explains. “At one point I was getting a tangle out of my hair and was like, oh, my God, that sounds really cool – the sound of my hands in my hair. And then I thought, what if we recorded hair for a percussion track? And then it just sort of snowballed.” Across the record, the A’s employ a bizarre-o ghost orchestra of strange noises that are percussive and melodic. The credits include nylon shorts, string (singular), hair, shoes, ice chunk, gravel, frog sample, and shoelace, among other unexpected makeshift instrumentation. The backing band is built out by a more traditional group of players: saxophone from Sam Gendel on “Copper Kettle,” backing vocals from Jenn Wasner (Flock of Dimes, Wye Oak) on “When I Die,” string arrangements from Gabriel Kahane on “He Needs Me,” and more. Fruit is made up simply of songs the A’s love to sing – there are lullabies and love songs; “He Needs Me,” written by Harry Nilsson and first released by Shelley Duvall in the 1980 Popeye film; traditional ballads like “Swing and Turn Jubilee,” “Copper Kettle” and closer “Buckeye Jim,” a multiplying song about frogs and nature. The sole original track to appear on the album is the penultimate “When I Die,” written by Meath. It contains both wishes and instructions for the celebration of her death, a low synth bubbling beneath Sauser-Monnig and Meath’s voices. It’s a collection of ten seemingly incongruous songs, but with the throughline of Sauser-Monnig and Meath’s vocals and sense of humor working in tandem, they fit together into a cosmic yodeling-folk masterpiece. Fruit feels like blowing the dust off a precious artifact of decades past, but also winking and modern. Sauser-Monnig sums up their ethos on the project succinctly: “If it doesn’t make you cackle or cry, it doesn’t belong.”

Somewhere in the middle of the first track, “Torres e Baldios”, there’s a sudden change of pace with percussion rhythms interfering with the trance-like sound of the first six minutes. It sounds like steps, people running away on a corridor bashing their feet. It dazzles you because of how unexpected it is, how unpredictable those sounds sound like and, most of all, how it makes perfect sense. It is a monstrous piece. And the beginning of a new age for Ondness, in the same year he defied his Serpente moniker to create an absolute classic, “Dias da Aranha”.

What makes “Oeste A.D.” so remarkable is the intangible idea of nostalgia. “Aqua Matrix Alternative Nation” recreates with a slowed down mentality the theme of one of the main events of the Expo 98 in Lisbon. It’s nowhere similar to the original, what it does is to mess around with the global ideas that were such a big part of that event. The Portuguese musicians that were invited to collaborate with Expo 98 were mesmerized by the ideas of union and globalization, creating overpriced music that sounds like shit today. “Aqua Matrix Alternative Nation” messes around with that vibe in a positive way. Think Mark Leckey playing around with his rave memories. Same thing, but in Portugal we had Expo 98.

Jokes aside, B Side is more futuristic with “Torres e Baldios II” and “Endless Domingo”, a nod to “Endless Summer”, by Fennesz, and “Endless Happiness” (from “Beaches And Canyons”), by Black Dice, mashing up – freely - both covers and reminding of how great 2001/2002 was for experimental music. Both tracks are full of sci-fi drama and this sickness of the future that has been travelling with Ondness since its early days. But the approach here is somehow different. Before “Oeste A.D.” the Ondness sound was fragmented, sparse and intensively reflexive. There was this uncertainty to it that made the previously releases so good. But “Oeste A.D.” is full of clarity, the phrases are straightforward, and the music moves in one direction, continuously. Before, there were loads of unanswered questions. The only doubt is when will the world start to care and listen to Bruno’s brilliant music. Now sounds like a good time.    

Following his triumphant performances at the 2022 Coachella Music and Arts Festival, Danny Elfman delivers Bigger.Messier., an ambitious double -album collection of remixed and reimagined tracks from his highly acclaimed Big Mess album. This sprawling, 23 track collection (available on 2 LP or 2 CD) features tracks reworked by some of the most groundbreaking and subversive artists around today. Bigger.Messier. views the Grammy and Emmy Award-winning composers songs through the lens of luminaries from diverse sides of the music business, including Trent Reznor, Iggy Pop, Squarepusher and Ghostemane. Elfman once again has achieved a kind of artistic liberation on the record that had been eluding him for decades, and connecting him to brand new audience. Born and raised in southern California, Elfman began his career as part of a surrealist, avant-garde musical theater troupe known as The Mystic Knights of Oingo Boingo. The group would eventually morph into the critically acclaimed rock band Oingo Boingo, whose high-energy performances and genre-bending sound garnered them a fanatically devoted cult following in the 1980s and '90s. Among the group's early fans was fledgling director Tim Burton and Paul Reubens (aka Pee-wee Herman), who enlisted Elfman to score their first feature film, Pee-wee's Big Adventure. The collaboration would prove to be the start of a long and fruitful partnership for Elfman and Burton, with Elfman going on to score a string of iconic Burton features like Batman, Beetlejuice, Big Fish, Edward Scissorhands, and The Nightmare Before Christmas. To date, Elfman has scored more than 100 films

"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.

Your Old Droog has been releasing music at a remarkable pace lately, and he isn't showing any signs of slowing down, as the prolific Brooklyn emcee is back with the new album “YOD Wave”.

Featuring appearances by Mach-Hommy and Tha God Fahim, the collection is pure hip-hop euphoria, with Droog’s sophisticated rhymes levitating over soulful loops. “YOD Wave” is entirely produced by famed Montreal artist Nicholas Craven, who has worked with the likes of Roc Marciano, Westside Gunn, Conway, Boldy James, Styles P, and more.

With a smooth-as-butter flow, an entrancingly deep vocal tone, and an exceptional ear for production, Big Cheeko is one of the most exciting emcees to emerge from Atlanta in recent memory.

After several outstanding mixtapes and a number of high-profile collaborations, the talented artist is now unveiling his commercial debut "Block Barry White". The album is a smoked-out masterpiece, capturing the full reach of Big Cheeko’s creative firepower, and is executive produced by hip-hop folk hero Mach-Hommy. Throughout the collection, Big Cheeko's powerfully authentic rhymes are accompanied by slow-burning, soul-influenced production and hard-hitting percussion, with all beats provided by Matic Lee, an acclaimed producer who has worked with the likes of Tech N9ne, Krizz Kaliko, Rittz, Jarren Benton, and more. Sure to blast out of trunks far and wide, "Block Barry White" features appearances by Mach-Hommy, Smoke DZA, Styles P, and Devin The Dude.

In many ways Kumoyo Island represents the culmination of a journey for Kikagaku Moyo. While their decade-long career can be summarized as a series of kaleidoscopic explorations through lands and dimensions far and near, there's a strong intention in each of their works to take the listener to a particular place, however real or abstract they may be. In that sense, the title and cover art for the band's fifth and final album draws you into a magical mass of land surrounded by water-but the couch suggests that Kumoyo Island may not be a fleeting stop, but rather a place of respite, where one could pause and take it all in. Reconvening at Tsubame Studios in Asakusabashi, Tokyo, where their earliest material had been recorded, the five members of Kikagaku Moyo found new inspiration in a familiar and comfortable environment. With their adopted homebase of Amsterdam under lockdown and their touring activities halted due to the pandemic, the band felt a renewed sense of freedom being back in shitamachi, or the old downtown area of their hometown. With unrestricted time in the studio, they began to build upon the demos and song fragments they'd amassed since their last tour. In the 1.5 months spent in Tokyo, everything started to come together. "Monaka", its name taken from a type of Japanese wafer sweets, takes melodic inspiration from traditional minyo folk styles, while "Yayoi Iyayoi" is a rare instance of the band singing in their native tongue, its evocative lyrics utilizing archaic words taken from old poetry and nature books found in one of the many secondhand bookstores of Tokyo. For "Meu Mar", an Erasmos Carlos cover, the original Portuguese lyrics were translated into English, then to Japanese. Strangely enough, the words seem to conjure an image of the protagonist floating among the clouds, looking down upon Tokyo Bay. In fact, it may be possible to draw a parallel between the topography of the band's home country-an island nation, surrounded by bodies of water-and the mysterious isle of Kumoyo. Are they one and the same? Has the band finally made it back home? It's up to the listener to decide.

Nach "Beware of the Dogs" von 2019 ist "Flood" Donnellys Album der Wiederentdeckung: es ist das Produkt monatelanger Experimente, schwieriger Momente der Introspektion und einer Menge Übergangsphasen. Wie die vielen Banded Stilt (zu Deutsch Stelzenläufer), die sich über das Cover verteilen, watet Donnelly in unbekanntem Terrain, lernt, wer sie als Künstlerin ist und wie umfassend ein Individuum sein kann. Während ihrer Zeit in den australischen Regenwäldern von Bellingen, entdeckte Donnelly ihre Liebe zur Vogelbeobachtung. Indem sie der Natur um sie herum mehr Aufmerksamkeit schenkte, konnte sie "das Gefühl verlieren, dass irgendjemand auf mich reagiert. Ich vergaß, wer ich als Musikerin war und es war eine überwältigende Erfahrung, einfach nur zu sein, mein kleines Ich zu sein." Sie schrieb 43 Songs, als sie Bellingen verließ und durch das Land zog. "Ich hatte so viele Gelegenheiten, an seltsamen Orten zu schreiben", bemerkt Donnelly. "Ich hatte oft keine Wahl, wo ich mich aufhielt. Es lässt sich nicht leugnen, dass die Schließung der Grenzen, wenn man keinen Zugang zu seiner Familie hat, den Blick auf die Teile des Lebens verengt, die einem wichtig sind." Wenn sie auf die Banded Stilt zurückblickt, schätzt Donnelly vor allem, dass "sie in einer Gruppe gesehen eine optische Täuschung erzeugen, aber für sich genommen sind sie ein einzigartiges Kunstwerk." Während jeder Song auf "Flood" ein einzigartiges Kunstwerk für sich ist, teilen sie im Kollektiv alles von Stella Donnelly im Überfluss: ihr inneres Kind, ihr liebevolles Selbst, ihr alptraumhaftes Selbst; alles von ihr selbst ist in die Entstehung dieser Platte eingeflossen, und obwohl man einen Ozean bräuchte, um alles zu ergründen, was sie fühlt, lohnt es sich, einzutauchen.

Nach "Beware of the Dogs" von 2019 ist "Flood" Donnellys Album der Wiederentdeckung: es ist das Produkt monatelanger Experimente, schwieriger Momente der Introspektion und einer Menge Übergangsphasen. Wie die vielen Banded Stilt (zu Deutsch Stelzenläufer), die sich über das Cover verteilen, watet Donnelly in unbekanntem Terrain, lernt, wer sie als Künstlerin ist und wie umfassend ein Individuum sein kann. Während ihrer Zeit in den australischen Regenwäldern von Bellingen, entdeckte Donnelly ihre Liebe zur Vogelbeobachtung. Indem sie der Natur um sie herum mehr Aufmerksamkeit schenkte, konnte sie "das Gefühl verlieren, dass irgendjemand auf mich reagiert. Ich vergaß, wer ich als Musikerin war und es war eine überwältigende Erfahrung, einfach nur zu sein, mein kleines Ich zu sein." Sie schrieb 43 Songs, als sie Bellingen verließ und durch das Land zog. "Ich hatte so viele Gelegenheiten, an seltsamen Orten zu schreiben", bemerkt Donnelly. "Ich hatte oft keine Wahl, wo ich mich aufhielt. Es lässt sich nicht leugnen, dass die Schließung der Grenzen, wenn man keinen Zugang zu seiner Familie hat, den Blick auf die Teile des Lebens verengt, die einem wichtig sind." Wenn sie auf die Banded Stilt zurückblickt, schätzt Donnelly vor allem, dass "sie in einer Gruppe gesehen eine optische Täuschung erzeugen, aber für sich genommen sind sie ein einzigartiges Kunstwerk." Während jeder Song auf "Flood" ein einzigartiges Kunstwerk für sich ist, teilen sie im Kollektiv alles von Stella Donnelly im Überfluss: ihr inneres Kind, ihr liebevolles Selbst, ihr alptraumhaftes Selbst; alles von ihr selbst ist in die Entstehung dieser Platte eingeflossen, und obwohl man einen Ozean bräuchte, um alles zu ergründen, was sie fühlt, lohnt es sich, einzutauchen.

Nach "Beware of the Dogs" von 2019 ist "Flood" Donnellys Album der Wiederentdeckung: es ist das Produkt monatelanger Experimente, schwieriger Momente der Introspektion und einer Menge Übergangsphasen. Wie die vielen Banded Stilt (zu Deutsch Stelzenläufer), die sich über das Cover verteilen, watet Donnelly in unbekanntem Terrain, lernt, wer sie als Künstlerin ist und wie umfassend ein Individuum sein kann. Während ihrer Zeit in den australischen Regenwäldern von Bellingen, entdeckte Donnelly ihre Liebe zur Vogelbeobachtung. Indem sie der Natur um sie herum mehr Aufmerksamkeit schenkte, konnte sie "das Gefühl verlieren, dass irgendjemand auf mich reagiert. Ich vergaß, wer ich als Musikerin war und es war eine überwältigende Erfahrung, einfach nur zu sein, mein kleines Ich zu sein." Sie schrieb 43 Songs, als sie Bellingen verließ und durch das Land zog. "Ich hatte so viele Gelegenheiten, an seltsamen Orten zu schreiben", bemerkt Donnelly. "Ich hatte oft keine Wahl, wo ich mich aufhielt. Es lässt sich nicht leugnen, dass die Schließung der Grenzen, wenn man keinen Zugang zu seiner Familie hat, den Blick auf die Teile des Lebens verengt, die einem wichtig sind." Wenn sie auf die Banded Stilt zurückblickt, schätzt Donnelly vor allem, dass "sie in einer Gruppe gesehen eine optische Täuschung erzeugen, aber für sich genommen sind sie ein einzigartiges Kunstwerk." Während jeder Song auf "Flood" ein einzigartiges Kunstwerk für sich ist, teilen sie im Kollektiv alles von Stella Donnelly im Überfluss: ihr inneres Kind, ihr liebevolles Selbst, ihr alptraumhaftes Selbst; alles von ihr selbst ist in die Entstehung dieser Platte eingeflossen, und obwohl man einen Ozean bräuchte, um alles zu ergründen, was sie fühlt, lohnt es sich, einzutauchen.

After a thirty eight year hiatus, the rejuvenated band have just completed putting the finishing touches to the first Altered Images music since the album "Bite" was released in 1983. It's an upbeat and contemporary sounding album which sounds like a natural progression of the Altered Images journey and sound, all topped with the instantly recognisable vocals of Clare Grogan. The album is produced by former Altered Images band member and acclaimed producer Stephen Lironi and features 12 songs that Clare Grogan has co-written with Stephen, Bernard Butler and Bobby Bluebell.

After a thirty eight year hiatus, the rejuvenated band have just completed putting the finishing touches to the first Altered Images music since the album "Bite" was released in 1983. It's an upbeat and contemporary sounding album which sounds like a natural progression of the Altered Images journey and sound, all topped with the instantly recognisable vocals of Clare Grogan. The album is produced by former Altered Images band member and acclaimed producer Stephen Lironi and features 12 songs that Clare Grogan has co-written with Stephen, Bernard Butler and Bobby Bluebell.

Bristol native Daffy returns to Shall Not Fade with his second solo EP, focusing on the darker aspects of 4x4 garage.

The title track typifies Daffy's unique and forward-thinking take on UKG. The dynamic chant of a dancehall MC is ramped up to invigorate a UKG stomper, the product: a rude, flavoursome track which evokes Spooky and Riko Dan's "High Power". Serious. The aptly-named "Darker Days" is more reminiscent of El-B with cool-toned low end growls before "Take It Easy" and "Warped" bring things to an energetic close with a stomping 4x4 rhythm and warped bassline which nod to old school speed garage.

LONG DISTANCE CALLING liefern mit "Eraser" das Progressive Rock Album des Jahres!
Mit ihrem Ruf als formidable und dynamische Live-Band,
nicht zuletzt aufgrund zahlreicher Europatourneen und
hochkarätiger Festivalauftritte, haben sich LONG DISTANCE
CALLING schon seit einiger Zeit auf eine Art Crescendo
ihres Könnens und ihrer Möglichkeiten hin entwickelt. Im
Jahr 2020 veröffentlichte die Band, obwohl sie nicht auf
Tournee gehen konnte, ihr siebtes und bisher fesselndstes
Album "How Do We Want To Live?", das aus dem Stand Platz
7 der deutschen Album Charts erreichte.
Da sie dieses Mal nicht in der Lage waren, ihre neue Musik
direkt unter die Leute zu bringen, beschlossen sie stattdessen, sich erneut mit Begeisterung in den kreativen Prozess
zu stürzen.
Das Endergebnis all dieser Kreativität ist dazu bestimmt,
eine der großen progressiven Platten des Jahres zu werden.
Das achte Album von LONG DISTANCE CALLING trägt den
Titel "Eraser": eine direkte und herzliche Hommage an die
allmähliche Erosion der Natur durch den Menschen.
"Eraser" ist den bedrohten Tierarten der Welt gewidmet,
wobei jeder Song ein bestimmtes, vom Aussterben bedrohtes Lebewesen darstellt.

LONG DISTANCE CALLING liefern mit "Eraser" das Progressive Rock Album des Jahres!
Mit ihrem Ruf als formidable und dynamische Live-Band,
nicht zuletzt aufgrund zahlreicher Europatourneen und
hochkarätiger Festivalauftritte, haben sich LONG DISTANCE
CALLING schon seit einiger Zeit auf eine Art Crescendo
ihres Könnens und ihrer Möglichkeiten hin entwickelt. Im
Jahr 2020 veröffentlichte die Band, obwohl sie nicht auf
Tournee gehen konnte, ihr siebtes und bisher fesselndstes
Album "How Do We Want To Live?", das aus dem Stand Platz
7 der deutschen Album Charts erreichte.
Da sie dieses Mal nicht in der Lage waren, ihre neue Musik
direkt unter die Leute zu bringen, beschlossen sie stattdessen, sich erneut mit Begeisterung in den kreativen Prozess
zu stürzen.
Das Endergebnis all dieser Kreativität ist dazu bestimmt,
eine der großen progressiven Platten des Jahres zu werden.
Das achte Album von LONG DISTANCE CALLING trägt den
Titel "Eraser": eine direkte und herzliche Hommage an die
allmähliche Erosion der Natur durch den Menschen.
"Eraser" ist den bedrohten Tierarten der Welt gewidmet,
wobei jeder Song ein bestimmtes, vom Aussterben bedrohtes Lebewesen darstellt.

LONG DISTANCE CALLING liefern mit "Eraser" das Progressive Rock Album des Jahres!
Mit ihrem Ruf als formidable und dynamische Live-Band,
nicht zuletzt aufgrund zahlreicher Europatourneen und
hochkarätiger Festivalauftritte, haben sich LONG DISTANCE
CALLING schon seit einiger Zeit auf eine Art Crescendo
ihres Könnens und ihrer Möglichkeiten hin entwickelt. Im
Jahr 2020 veröffentlichte die Band, obwohl sie nicht auf
Tournee gehen konnte, ihr siebtes und bisher fesselndstes
Album "How Do We Want To Live?", das aus dem Stand Platz
7 der deutschen Album Charts erreichte.
Da sie dieses Mal nicht in der Lage waren, ihre neue Musik
direkt unter die Leute zu bringen, beschlossen sie stattdessen, sich erneut mit Begeisterung in den kreativen Prozess
zu stürzen.
Das Endergebnis all dieser Kreativität ist dazu bestimmt,
eine der großen progressiven Platten des Jahres zu werden.
Das achte Album von LONG DISTANCE CALLING trägt den
Titel "Eraser": eine direkte und herzliche Hommage an die
allmähliche Erosion der Natur durch den Menschen.
"Eraser" ist den bedrohten Tierarten der Welt gewidmet,
wobei jeder Song ein bestimmtes, vom Aussterben bedrohtes Lebewesen darstellt.

Lee 'Scratch' Perry , der wohl größte jamaikanische
Produzent aller Zeiten, war in den sechziger und siebziger
Jahren maßgeblich an der Umgestaltung des nationalen
Sounds der Insel beteiligt und hat mit seiner einzigartigen
Herangehensweise an das Musikmachen die Musik über
die zuvor wahrgenommenen Grenzen hinausgetrieben.
Anlässlich des ersten Jahrestages seines Todes wird das
Beste aus seinem Schaffen in einer Reihe von Produkten
präsentiert, die alle deutlich machen, warum Perry so
lange eine weithin verehrte Persönlichkeit war.
Das Deluxe-Box-Set umfasst vier Vinyl-LPs und vier CDs
mit seinen bekanntesten und einflussreichsten
Aufnahmen, darunter ein bisher unveröffentlichter Mix von
Junior Murvin s kraftvollem "Police And Thieves", dem
britischen Chart-Hit "Hurt So Good" von Susan Cadogan
und dem Reggae-Klassiker "Return Of Django" von den
Upsetters sowie zahlreiche große jamaikanische Hits.
Das Set enthält ein 50-seitiges, vollständig illustriertes
Buch aus der Feder von Scratchs offiziellem Biographen
David Katz mit einer Reihe von Fotos des berühmten
Fotografen Adrian Boot sowie ein neu gestaltetes,
zweiseitiges Farbposter im Format 24" x 24".
Die 2LP und 2CD Formate konzentrieren sich auf die
bekanntesten Produktionen des legendären Musikers aus
den Sechzigern und Siebzigern, dargeboten von einigen
der Giganten der jamaikanischen Musik, mit ausführlichen
Texten zu dem Mann, dessen Talent und Fantasie den
Reggae zu neuen Höhen der Exzellenz führte

"Eine musikalische Erkundung durch die Jahrhunderte,
um ein neues Eden aus uns selbst heraus zu erschaffen",
das ist Joyce DiDonatos Vision für ihr jüngstes Projekt.
Mit ihrem Album EDEN erhebt die Sängerin die klangvolle
Stimme, um ihre Hörer für die Schönheit und Fragilität
unseres Planeten zu sensibilisieren. Angesichts
fortschreitender Umweltzerstörung treibt jede Hoffnung,
die Welt zu retten, davon. EDEN ist Joyce DiDonatos
Einladung, sich mit der Natur und dem eigenen Ursprung
neu zu verbinden. Wie schon beim preisgekrönten Album
"In War and Peace" begleitet auch diesmal das
Originalklang-Ensemble Il Pomo D'Oro unter Maxim
Emelyanychev den Weltstar.
Werke von Ives, Mahler, Portman, Myslivecek, Copland,
Cavalli, Wagner, Händel, Marini u.a.
Inkl. Welt-Ersteinspielung

'No Sub Reino dos Metazoários' is the first and only record by musician and poet Marconi Notaro, out of Pernambuco, Brazil. Originally released independently, however, with the support and distribution of Rozenblit, the 1973 album featuring Lula Cortes, Zé Ramalho and Robertinho de Recife is part of the holy trilogy of "Psicodelia Nordestina" amongst the equally mindblowing Paebiru (1975) and Satwa (1973). For its non-comercial a raw aesthetics, the record became a true rarity among collectors worldwide and one of the most important albums of Brazilian Psychedelia. For years it was known that the master tape of 'No Sub Reino dos Metazoários' had been lost during two floods that wrecked the Rozenblit Studios. Lots of equipment were damaged and plenty of material gone. However what no one expected was that the tapes were kept on the highest shelves in the studio where the water did not reach with the thought of "equipment can be replaced, master tapes are unique". Notaro's daughters inherited and rescued the tape and made it available so that Fatiado Discos could release the first and remastered version from the original tapes since 1973. The lysergic highest moments come with nature elements textures as water and wind mixing together with the unmistaken sound of the Tricórdio Acústico - which is a very unique instrument that Lula Côrtes brought himself from India and then adapted it with the help of a local luthier to the regional sound of the Brazilian northeast. The gatefold designed by Lula Côrtes is portrayed in this release and it also has its inner side designed by Cátia Mezel, apart from an extra insert with unpublished photos of Marconi provided by the musician's family.

Stemming from a great legacy of poetry, Quintal de Clorofila was a duo from the south of Brazil composed by two musician brothers, Dimitri and Negendre Arbo, who turned their dad's poetry into music. In the album O Mistério dos Quintais, the two brothers presented a Brazilian Hippie Folk full of psychedelic touches a times with flanger effects, reverb and synthesizers, a times totally raw with medieval melodies, flutes and strings. The record goes with the original artwork, insert with lyrics plus unreleased photos including the one of the debut album O Mistério dos Quintais featuring the bird (a canary) that sang on stage with its own microphone. O Mistério dos Quintais was released originally in 1983 via a some sort of crowdfunding, before the term itself and even the existence of internet. Supporters who invested in the project had their names in the acknowledgements on the first edition insert. Given the fact that it was released independently, the purity and innocence of the Arbo brothers came to light and set them free to grace the listeners with sounds of nature, mysticism, influences from the Peru Andes and even some madness such as taking the family's bird (that was used to singing along with the brothers at their rehearsals at home) to then record in the studio. When the record was ready, the band realized that the record RPM was wrong. The songs were a bit faster, slightly 1/2 a pitch higher. However, it was too late, nothing else could've been done. Because they were a small band, the manufacturing plant refused to repress the records and they had to endure this. Almost 40 years later, Fatiado Discos present the first version of O Mistério dos Quintais in its original rotation speed, the right one.

Radio Diaspora works on the concept of cultural identity, which is flexible and dynamic. This provocation is generated by referring to all African ancestry moved by the diaspora and its sonorous, vocal, polyrhythmic, and polyphonic codes - all the ancestral heritage that has spread throughout the world following expropriations, genocide, and slavery - sampling and amplifying references that become triggers of energetic approaches. A heavy core of representations and senses aims to exorcize through noise and strangeness all secular violence against people of the African diaspora. In the title song of this album, 'Negro Humor', the respected Brazilian actor Grande Otelo highlights the contradiction of the clown, which awakens joy in everyone but is a sorrowful, lonely figure, ridiculing himself and putting himself in the most embarrassing situations. Relieved, loud laughter echoes in the audience because it is not the target of ridicule. In 'Despacho', Radio Diaspora explores the dichotomy of society by introducing a speech by Brazilian lawyer Hédio Silva Júnior specialised in Afro-Brazilian religion. He questions a rule under discussion in Brazil's Congress that would prohibit the use of chickens in Candomblé and Umbanda rituals. Silva Júnior points out that everyone takes a stand to protect the rights of animals, but the same cannot be said of the defense of young black people and outlying societies. The track 'Meia-Noite' evokes a celebrated point of Umbanda, an Afro-Brazilian religious syncretic cult, permeated by free jazz and electronic atmospheres developed by the duo. The other songs on the album are divided into two parts. They feature the voices of North American icons of the black struggle for civil rights: The tracks 'A.H.M. Al-Shabazz 1 and 2', amid sonic dissonances, use extracts from speeches by the American leader Malcolm X, and in 'Muhammad Ali 1 and 2' we hear quotes from famous interviews given by the boxer and activist. Ali ironizes the questions he asked his mother as a child, why all good and positive things are associated with white. "Mother, how come is everything white? Why is Jesus white with blonde hair and blue eyes? Angels are white, the Pope, Mary, and even the angels. When we die, will we go to heaven? She said naturally we go to heaven. So, I said, what happened to all the black angels they took from the pictures." His Inquiry, however, is seen as a joke by the white audience present at the TV show, which laughs off Ali's scathing criticism. Radio Diaspora uses art as an instinctive force to reject submission to traditions and culture as taming. Music is the weapon. "The (album) sound means to exorcise racism out of our minds and make us ready to act". - Rômulo Alexis

Frankfurt - Mumbai, Loops und Ragas, Elektronik, Jazz und eine Prise Krautrock. Ragawerk spannen neue Saiten zwischen Europa und dem indischen Subkontinent - und bespielen sie virtuos. Das neue Projekt von Max Clouth und Martin Standke entwickelt treibende Grooves, kosmische Klangpanoramen und tiefgründige Meditationen. Fluide Sounds treffen auf kantige Beats, raumöffnende Gitarrenklänge schweben über den elektronischen Schraffuren eines Modular-Synthesizers. Indische und westliche Klangelemente verschmelzen zu einer einzigartigen Fusion. Die Wurzeln der Band im Jazz bleiben dabei unverkennbar. Aus indischen Ragas und europäisch geprägtem Jazzhandwerk wird Ragawerk. So heißt auch schlicht und einfach das Debütalbum.

William Orbit returns with his first new album in over eight years. Entitled ‘The Painter’ it is unmistakeably William Orbit and features vocal collaborations from an array of artists including Katie Melua, Beth Orton, Georgia, Polly Scattergood, Ali Love and more.ja

Natural Sciences introduce the first issue of Embryo: a 50 page magazine, 12" record, A3 Poster and mix series, ft: Hieroglyphic Being, Beau Wanzer, Fumu, Margenrot, Breathing Problem Productions, December, Ki Jeal, Bacon Grease and other artists and labels from across the underground.

The first issue comes with an exclusive mix from Sawf (available as a QR Code) and killer two-track 12" from Smpl Smpl.

Enclosed in heavy-duty PVC Wallet (w. flap) and outer sticker, inside sticker and hi-gloss A3 poster.

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

Shen is a quartet from Tel Aviv, constantly switching between genres while searching for truth and patience in the process.
After dealing with urban experiences on their first album back in 2018, Shen has matured and started to explore the power of nature and the dimension of time with their latest offering, recorded at Kibbutz HaOgen, which is located on a kibbutz near Kfar Yona, far from the big cities of Jerusalem and Tel Aviv.

What happens when you let go of something you've always been passionate about? Will it come back? And if so, in what ways and with what impact?
These questions laid the foundation for Toby Whyle's debut album 'Call It A Night'.

It is a journey to find out what feels right to him-this means escaping old patterns and allowing himself to try new things. Musically, he exposes himself unreservedly to the gravitational forces of electronic music and guitar pop by orbiting these points of attraction without ever really getting caught by either of them. Each song moves along its own trajectory, fueled by Toby's thoughts and experiences.

His first single, 'No One Moves', hitting number 1 on the FM4 charts in early 2021, marked the beginning of a new adventure-a journey upon which Toby embarks entirely on his own for the first time. After his first EP, 'A Mood Of Its Own', and the release of further singles, the debut album 'Call It A Night' will be out on May 20th, 2022, on Matches Music.

PRESSTEXT
Writing songs has always been quite natural and ever-present in Toby Whyle's life. And he's written plenty of them over the last decade. However, what's new is the realisation that songwriting is one of his few means to slow down the bright and fast-paced world surrounding us. Driven by the urge to create and develop something new, he started to write again. And suddenly, this feeling of being able to pause time came out more intense and immediate than ever.

In this way, the singer, songwriter, and guitarist manages to stand back from the constant rush, carving out space to move freely at his own pace. " Each song is an empty room, and I can decide for myself how I'm going to furnish it. It might get rather chaotic with stuff piled up to the ceiling, then again there's almost nothing in it", he describes his approach to songwriting. For him, creating melodies, crafting music and lyrics is not just a means of reflecting on situations he finds himself in but also a tool of handling them. Toby's music strives to affect and inspire people in all the different phases in life, as his songs are also a result of the diverse situations he's gone through.

Aesthetics and craftsmanship play a crucial role in Toby Whyle's creative process, from crafting songs, recording and producing them, and building and maintaining a particular visual language. He aims to create high-quality and exceptional music that enthuses and delights people, which sparks energy and conveys a certain feeling.

Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energies that inhabit the land of Puglia since the dawn of time.

An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspective sunset sensations. One Body. Many Souls.

PF004 // The fourth vinyl of Polifonic Records label brings together artists from different cultures and ethnicities to create a seamless blend of sounds with diverse influences. Encompassing genres like house, Balearic beat, and acid, harmonized through ambient arrangements and 4-tothe-floor rhythm patterns to chill and groove to, this record is a material embodiment of the multicultural and polyhedric approach that Polifonic adopts throughout the multiple extensions of our projects.

The first track “Generations of Sunsets” by Lipelis joining with Andy Butler from Hercules and Love Affairs, vividly illustrates the extent of their sonic palette: a journey that runs through a Balearic groove - also with the use of guitar - and expands the mind to exotic places keeping the body moving with its acid touch.

Italian 90’s riviera house meets percussions and ethnic grooves in the born new track from the Milano duo Eternal Love. “Kuasi Riviera” reflects perfectly the nature of Polifonic between clubby atmospheres and connection with the wild world.

Then comes the darker side with Yu Su, who switches it up with new diversions in tempo and rhythm throughout “Oil” with a blend of deep basslines and obscure soundscapes contributing to this journey through space and time.

Benedek’s “Desperado” doesn’t shy away from deep diving right back to the 90s Italian house overlapping bold soundscapes through the lens of a contemporary producer. Distinctive,
immersive, and dauntless.