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Keyboard virtuoso Terry Riley started experimenting with different instruments in the ‘50s. One of his electronic music landmarks
is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It’s a colorful,
psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record.
Taking inspiration from Hindustani classical music and jazz techniques, Riley’s masterpiece
influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air is available as a limited edition of 750 numbered copies on translucent yellow coloured vinyl

For two decades, Trad Vibe Records has been exploring and celebrating the many facets of hip-hop, funk and soul music, always driven by a passion for authentic, organic sounds. Founded in 2005, this independent French label has made its mark on the underground scene with cult releases, transatlantic collaborations and a loyalty to vinyl culture. In 20 years, Trad Vibe has brought together beatmakers, MCs and DJs around a musical vision that is both timeless and audacious. To celebrate this anniversary, the label unveils a limited vinyl edition of 300 copies, a veritable digest of its musical universe.

Side A kicks off with "Boom Bap Introduction", a track mixing jazz and boom bap in a characteristic old-school instrumentation by DJ Vince.
This is followed by the West Coast energy of DJ King Flow & Lex Lakaiser on "Money".
The soulful groove of Moar, Raashan Ahmad and Kohndo explodes on "Stand Up (Soul
Train Mix)".
Juliano concludes the side with his blues-inspired "Nothing or All".
The B-side kicks off with the classic “Rock It Feel The Groove”, a funky bomb orchestrated and scratched by Dee Nasty, a historic figure in French hip-hop.
Moar and Raashan Ahmad return with "Sky High", a track reminiscent of the golden age of 80's Disco Rap.
Followed by LS Brigandes with the sensual "You Make Me Feel", bathed in New York, Hip-Hop, Soul and Jazzy influences.
To round off the album in style, DJ Clyde concludes with a positive message on Boom Bap sounds and Lofi with “More Love”.
This anniversary compilation is available on vinyl only, in an ultra-limited edition of 300 copies. A must-have collector's item for fans of polished beats and authentic vibes.

When the hypnotic groove of Berlin band Onom Agemo & The Disco Jumpers meets the pulsating riffs of Malian guitarist and singer Ahmed Ag Kaedy, new horizons open up.


At the centre of 'Common Stars' is Ahmed Ag Kaedy's distinctive vocals - always with poetic urgency. His lyrics, deeply rooted in the political and cultural realities of his homeland, deal with freedom, home and the search for identity. They deal with the ongoing conflict of the Tuareg in Mali, who are caught between the desire for cultural self-determination and political tensions with the central government. They also address the threat posed by Islamist groups, which have controlled parts of northern Mali and banned music since 2012. Ahmed Ag Kaedy had to flee his home country due to this repression. With his band Amanar, he shaped modern Tuareg rock and toured internationally. The collaboration with Onom Agemo began after he came to Berlin for the premiere of the film 'Mali Blues', in which he is one of the protagonists, and led to joint concerts throughout Europe.

'Common Stars' is a musical meeting of cultures that unites sounds from the Sahara to Berlin. Music that creates connections and makes different perspectives audible. The tracks are characterised by trance-like rhythms, hypnotic bass lines and shimmering saxophone and flute sounds. Pulsating synthesizers, dry-as-dust guitar riffs and improvisational outbursts interweave to create a soundscape that is sometimes driving, sometimes floating and creates a very unique, captivating atmosphere. Ahmed Ag Kaedy describes it aptly: 'Space jazz meets the rhythm of the camel.'

Voodoo 5 brings Exotica to Alternative Tentacles with “Moon Over Marin”! In a genre where most bands are content to imitate old records, Voodoo 5 are making new ones—brave, bold, and unlike any exotica record you’ve ever heard. Led by composer/guitarist Skip Heller—producer to/protege of Robert Drasnin, orchestrator for Elisabeth Waldo, bandleader for Yma Sumac—and vocalist Lena Marie Cardinale, an operatic Sumac acolyte and former El Vez Elvette, Voodoo 5 has established themselves as a blistering live act not only at exotica festivals like Tiki Oasis and Tiki Caliente, but also such jazz venues as the Century Room (Tucson), Carousel (Palm Springs), and at various clubs in Los Angeles, their home base. Cardinale and Heller are rounded out by an all-star ensemble (Jay Work, flute, Mark Riddle, vibraphone, Connor Gallaher, steel guitar, Paul Eckman, upright bass, and Cesar Ventura, congas) who groove harder than do most exotica groups, all the while spotlessly executing some of the most interesting arrangements the genre has to offer.

CHRISTMAS & NEW ORLEANS Louis Armstrong set standards in jazz with both the trumpet and his extraordinary voice, influencing all generations to come. Armstrong loved the Christmas season, the festive spirit and Santa Claus. This joy is reflected in his Christmas recordings. With his dazzling trumpet solos and distinctive, raspy and unique voice, Armstrong‘s Christmas songs continue to enrich music selections for the holiday to this day. Complemented by outstanding Christmas songs by his companions Ella Fitzgerald, Nat King Cole, Frank Sinatra, Dinah Washington, Les Brown, Dean Martin, Louis Jordan, Peggy Lee and The Dukes of Dixieland, Christmas becomes COOL YULE!

Trumpeter Eddie Henderson came to prominence as a member of Herbie Hancock’s Mwandishi in the early-70s after which he recorded a pair of seminal jazz-funk fusion classics for Blue Note—Sunburst (1975, and Heritage (1976)—the latter featuring a forward-looking crew with Julian Priester, Patrice Rushen, Paul Jackson, Mike Clark, Billy Hart, Mtume, and others. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Following their acclaimed debut Spirits, New Zealand"s boundary-pushing jazz collective The Circling Sun return with their sophomore LP Orbits - a deeply layered fusion of spiritual jazz, analog electronics, and percussive groove. Where Spirits explored 1960s influences, Orbits shifts into the mid-"70s, drawing inspiration from Rahsaan Roland Kirk, Yusef Lateef"s Atlantic era, and the Brazilian jazz of Azymuth and Airto Moreira. The ensemble blends arpeggiating Prophet synths and modular electronics with acoustic instrumentation: saxophone, upright piano, vintage drums, and hand-played percussion. Tracks move seamlessly between danceable Afro-Cubanrhythms and expansive, ambient jazz meditations - with layered vocals and choral textures guiding the listener through an interstellar sonic journey. Lush yet accessible, Orbits appeals to both deep jazz heads and fans of ambient, soulful instrumental music.

Jugoton Funk is back with a second instalment gone funkier and crazier than before - now capturing even the early 80s disco and folk decadence occurring after Tito’s death. Jugoton, the Yugoslavian discography leader by all standards, still incites our inspiration and keeps our fingers dusty for more beats, soul and jazz presented here in equal proportion. From unreleased Jugoton associated numbers by Spektar and breakbeat bombshell classics like Zlatokosa to early Yugoslavian Soul Finger renditions and groovy jazz infusions from Josipa Lisac - this compilation rounds it all up. Enjoy it while we take another 5 years to get to Vol.3.

Papa Records is excited to announce its latest release: two dancefloor ready tracks featuring the Diplomats Of Soul, Incognito, and Vanessa Haynes.
On Side A, you’ll find "Sweet Power Your Embrace," a remix of James Mason's iconic Jazz-Funk masterpiece by Terry Hunter & Emmaculate 7”.
Side B features a remix by Micky More & Andy Tee of "Never Gonna Fall In Love Again (Like I Fell In Love With You).

Includes a huge remake of James Mason’s iconic jazz-funk masterpiece – ‘Sweet Power Your Embrace’
A new 7” of soul classics by Diplomats of Soul with legendary UK band Incognito & Vanessa Haynes
Remixes courtesy of Chicago house legend Terry Hunter & Emmaculate, alongside sought after Italian production duo Micky More & Andy Tee.

Milton Wright's perfect deep Soul classic "Keep It Up" has always been a top shelf record, everything about it is almost flawless! Whether it's Milton's silky vocal delivery, the incessant guitar driven back beat or the total space Funk vibe of his omnipresent ARP-2600 synthesizer this record has it all. Originally released on TK Disco's more Soul and Funk orientated Alston label which was home to many legendary artists and records, this 1975 sunshine classic never fails to make people move. A classic rare groove indeed. "The Silence That You Keep" takes up side-B, a jazzy, flute driven love song that again features Milton's perfect voice and some fantastic arrangement. A real gem of a record, with the original 45 changing hands for over £100 a time in used condition.

This is the first time "Keep It Up" has been re-issued in it's original 45 rpm format with the original Alston label artwork. It's been re-mastered, re-pressed and made available again with the permission of TK Disco / Alston Records, Miami Florida, USA.

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Claremont 56 founder Paul ‘Mudd’ Murphy has been in a rich vein of creative form of late. Having released his first solo album in 18 years in 2024, the effervescent and picture-perfect 'In The Garden of Mindfulness', Murphy is well on his way to finishing solo LP number three – a set you’ll be able to hear in full later in 2025. To get us in the mood, he’s offering up a two-track taster featuring instrumental takes on cuts that will appear as full-vocal songs on the final album. Both were written with, and feature instrumentation by, regular collaborator Michele Chiavarini, an Italian musician, producer, composer, and arranger who has long been part of the Claremont 56 family.

Up first is ‘Mahalo (12" Instrumental Mix)’, a languid and emotion-rich groover built around a smooth, mid-tempo jazz-funk-goes-disco groove – think crispy drums, delay-laden hand percussion and rubbery bass guitar – and all manner of ear-catching musical details. As the track unfolds, you can expect to hear lilting strings, warming electric piano chords, mazy synth solos, heady horn-style blasts and glistening, eyes-closed guitar licks. It’s a genuinely superb slab of musically rich dancefloor warmth. The track that follows, ‘Mata Ne’, is an altogether dreamier and more dub-influenced affair. Featuring some sublime piano playing from Chiavarini, it sees Murphy layer simmering strings, cascading guitar licks, spacey synths and blissed-out melodic motifs atop the kind of chunky, dubby groove that has long been one of his aural trademarks. Offering positivity and melancholia in equal measure, ‘Mata Ne’ is Mudd at his most musically majestic. His forthcoming album will be worth waiting for.

Dutch club jazz band New Cool Collective returns with a tasty 7" featuring two cinema classics. On the A-side, they serve up their own fresh and super funky cover of 'Enter the Dragon,' the iconic theme associated with Bruce Lee and his martial arts masterpiece of the same name. The B-side features their take on 'Misirlou' which is a legendary surf rock track by Dick Dale & The Del-Tones that was made world famous when it was used as the theme from Quentin Taranto's chef d'ouevre, Pulp Fiction. This double-sider is standout for its nostalgic movie associations but also on a purely musical level it oozes class.

Transitioning from the successful 2 Years EP (O Sótão Records, 2023), Tiago Fonseca became an up and coming Producer and DJ based between Lisbon and Porto. On the back of gigs at some of the best clubs in the country, he also transitions from Tiago A.F. to TGZ (sounding Tigz) as his moniker for what’s to come ahead. Long Shape, his latest project, is O Sótão’s first vinyl release, and the first to be delivered with higher standards of professionalism. Learning the trade, the processes, the timeframes, the costs, and having just completed 10 years of existence. A good time to go a bit deeper.

In the summer, Tiago sent me a golden playlist of unfinished projects for a second opinion. The idea for a new record started there, and from the bunch we handpicked a selection that ended up making really a lot of sense for us. We were looking for wet deepness and eternal warm ups, pulling up the fader slowly. An invitation to leave our mental capsules and divert attention towards a seductive bassline cliff-hanging a dream. Progressiveness and jazz. Long shapes and melodies in the last frontier between nostalgia and hope.

To help, we invited Miguel Tenreiro (a.k.a. Gazpa) to master the tracks, with him adding a smooth-extra-delicious pump on the beautiful original elements. Miguel also picked up the title-track for a remix treatment, breaking up the tempo with a hip-hop-electronica finale, sprinkled by a guitar solo from Zé Nuno - another great musician stemming from Mr. Bean’s bar, where we held a residency for the past year.

Long Shape will drop on March 21st. Vinyls might be only available a bit later. It will be a landmark moment for us, being Tiago’s most complete work to date, and a better representation of his rich musical influences, expanding it, as we speak, to another level. It’s also been 10 years for O Sótão, so there’s that too. To sum up, I’m just very glad that Long Shape sounds exactly where we would like to be after all this time, with a quick image of a nite-lit skyscraper cutting into a couple of rocks being dropped in the coolest whiskey glass, and the people warming up to a dream.

Edition of 100 Vinyl 12’’, Cover 3mm spine

From the mind of Philadelphia legend Del Jones, the jazz-funk musician and social justice activist behind Positive Vibes and The Court Is Closed, comes a cult favorite finally getting its due. Originally released on CD in 1999, Dance of 'De Elder is a late-career epic where Jones' unmistakable vocals and undeniable funk deliver his signature blend of history, justice and Afrocentrism to reinforce his timeless command: 'DANCE // RESPECT YOURSELF.’

This 12-inch marks the track’s debut on wax and features five remixes for today’s dancefloors. Lil Dave lifts the song into an uptempo, deep and soulful house jam, Pheels flips the vocals over a heavy, psychedelic and percussive dub, Sweater adds bright, crescending synths that revive Jones’ chorus as a joyful decree, Universal Cave offer an extended, dubbed out, late night acid excursion, and Street Orchestra dials in a knocking MPC beat mix that could have fit right at home on the original release.

When we found a copy of the Dance Of ‘De Elder CD, the title track quickly became a Universal Cave crew anthem that we played every chance we got. Early doors, end of night, looped over party tracks, we couldn’t get enough of it and knew it had to get out to a wider audience. We hope this release helps get Jones’ music and message out to DJs and dancers worldwide.

Pond Life Records presents Humble B Flat’s third vinyl release – Blessings of the Sun, a spiritual jazz-infused deep house double LP.

His previous album, Source of the Nile - promoted through a more grassroots approach than this forthcoming release — saw great success, with purchases via Bandcamp by deep house legends like Osunlade and Kai Alce. It also received radio play on shows such as Macca’s acclaimed The Glove That Fits on NTS, among others.

The release has garnered heartwarming messages from the likes of Coflo, Tour-Maubourg, Delfonic, and Felipe Gordon, and was recently spotted in FloFilz’s Spotify recommendations.

Blessings of the Sun has already been lighting up dance floors at loft-inspired parties such as Giant Steps, Luar, and Beija Flor.

Blessings of the Sun is receiving a more focused promotional rollout. It has already been played on rising star Millie McKee’s NTS show. As with past releases, only a limited number of copies will be pressed. Artwork is by renowned artist Annie Fiddian Green, and more new music from Humble B Flat is on the horizon.

With a Pond Life stage takeover set for one of Resident Advisor’s top festival picks, Gottwood, pre-empting the release, we’re excited to see where this double LP from Humble B takes us.

Mexico City based "street jazz" maestro Soni Orbita is on a spiritual quest in sound. Jazz is what he uses to communicate messages of love and freedom, and this new album for Departamento does just that across 8 magnificent new tracks. They are brilliantly complex in their arrangements but also hugely accessible thanks to their universal grooves and emotions. Elements of house, funk and disco all feature with piano anchoring each piece. The result is a deeply personal and meditative body of work that invites introspection while moving the body and soul with endlessly rich harmonies. This is bold, brilliant jazz for anyone seeking a path to higher consciousness.

Chicago DJ/producer SEAN SMITH brings 3 classic dance floor weapons. The A-side contains an edit of disco funk classic "DANCE ON THE FUNK" alongside a dub version, while the B-side offers an edit of 90's jazz house track "GOOD BEAT." Proper weapons for today's dance floors. White label 12" in paper sleeve

Strut present the first international release in over 30 years by legendary Afro-jazz group Oneness Of Juju with their new album Made Through Ritual on 11th July 2025.

In 1975, the late DJ / producer and jazz distributor Jimmy Gray and James “Plunky” Branch joined a musical revolution, founding Black Fire Records and releasing the label’s debut album, the classic African Rhythms by Oneness of Juju. This July, Plunky brings this important musical relationship full circle with Made Through Ritual, produced by Plunky’s son Jamiah “Fire” Branch and Jimmy’s son Jamal Gray.

The album takes a novel approach to beat culture. Working from demos created by Jamal using a selection of original jazz samples, Plunky took the tracks, replayed and re-interpreted the arrangements using live musicians. “The album explores the art of deconstruction and reconstruction in music - sampling, sequencing, and live improvisation merge with multi-track recording to craft intricate harmonies and arrangements,” explains Plunky. “The process became a ritualistic expression of creativity and transformation.”

The resulting album is a fascinating listen. Opening with the meditative soul chant ‘Share This Love’ voiced by regular Oneness vocalist Charlayne “Chyp” Green, the album opens out into a series of jazz vignettes including the title track, ‘In Due Time’ and ‘Free Spirit’. The powerful album closer, ‘Children Of The Drum’ celebrates black culture and legacy through the poetry of Roscoe Burnem.

Released on 1LP and 1CD with specially commissioned cover artwork by contemporary Ivorian artist Maxime Manga, Made Through Ritual represents an important new chapter in the Oneness story. The album will be supported by a selection of European tour dates during Autumn and Winter 2025.

Recorded live in one session at age 18, this album helped launch Tania Maria's career as an acclaimed Brazilian jazz artist, celebrated for her virtuoso combination of piano and vocals. Produced by Romeo Nunes (Meirelles e Os Copa 5, Rio 65 Trio, Elis Regina, Elza Soares), the album features the pioneering Edison Machado, who transformed samba and was instrumental in the development of Bossa Nova through his groundbreaking "samba no prato" (samba on the cymbals) technique. His work helped shape the sounds of Jobim, Getz, and Milton Nascimento. On guitar is the legendary Neco, who played on over 500 albums. Initially self-taught, he later studied under maestros Guerra Peixe and Moacir Santos. He collaborated with icons like Elis Regina and Chico Buarque, and was a member of Os Ipanemas, Os Catedráticos, and Os Gatos. His solo work includes Velvet Bossa Nova (1966), which became an acid jazz favorite. The album features compositions by Caetano Veloso and Marcos Valle,alongside early samba classics.

Blending Brazilian rhythms with elements of samba, bossanova, and jazz fusion,it captures the early development of Tania Maria's signature style. Born in São Luís, Brazil in 1948,Tania Maria began playing piano at age seven. She learned samba, jazz, and chorinho through her father's weekend jam sessions. Leading her own band by age13, she performed across the region while collecting records from influential artists. Though she earned a law degree and started a family,her passion for musicu ltimately won out—she left law to pursue music full-time.

Blue Night is the expanded edition of Art Blakey and The Jazz Messengers recording released in 1985. Art Blakey led the Jazz Messengers
for 35 years, mentoring countless musicians and encouraging their growth into influential bandleaders. By 1984-85, his band included five
prodigious talents: Terence Blanchard (trumpet), Donald Harrison (alto/soprano sax), Jean Toussaint (tenor sax), Lonnie Plaxico (bass), and Mulgrew Miller (piano). Despite being 65, Blakey remained as vibrant as his young bandmates, inspiring and pushing them to develop their distinct musical voices. Blue Night showcases the Art Blakey and The Jazz Messengers hard bop excellence, featuring originals by Blanchard, Harrison, Toussaint alongside the classic “Body An Soul”. The 2LP expanded edition of Blue Night features alternate takes of “Two Of Kind”, “Blue
Minor” and “Mr. Combinated”, includes liner notes by Scott Yanow and is available on vinyl for the first time.

Ria Moran steps into a bold new chapter with Cubico, her debut solo album set for release in July 2025 via DeepMatter Records. A deeply personal and sonically rich project, Cubico sees Ria stepping forward as a producer and instrumentalist, blending R&B, neo-soul, and jazz with introspective songwriting that explores love, self-discovery, and emotional growth. The 12-track album moves fluidly between smooth R&B grooves and darker alternative tones, embodying the full spectrum of her artistry—sweet, emotional, moody, quirky, and fun. Ria made her long-awaited return in November 2024 with Take It or Leave It, a collaboration with Nubiyan Twist that showcased her evolving artistry and set the stage for Cubico and finding support from BBC Radio 6, Radio 1, Rinse Fm, Jazz FM, Worldwide FM, and more. Prior to this, her 2019 EP Moving into the Light gained widespread recognition from BBC Introducing, BBC Radio 6, and Worldwide FM, placing her among the UK’s most exciting contemporary soul voices. Her music sits at the juncture of forward-thinking UK soul music and nu-jazz, placing her alongside contemporaries including Ego Ella May, Yazmin Lacey and Cleo Sol, whilst also nodding to pioneers like Sade and Erykah Badu. Beyond her solo work, Ria has built an impressive career as a collaborator. Her contributions to Nubiyan Twist’s Freedom Fables earned a MOBO Award nomination, and she later appeared on Blue Note Records’ Blue Note Re:Imagined series, performing a BBC Radio 2 live session at the legendary Maida Vale Studios. She also worked with bassist Daniel Casimir on his acclaimed Boxed In album, joining a roster of UK jazz heavyweights including Nubya Garcia and Moses Boyd. Since 2019, she has been a touring vocalist with Gotts Street Park, sharing stages with Celeste, ENNY, and Pip Millett. With Cubico, Ria Moran is fully stepping into her own as an artist, delivering a debut album that is as raw as it is soulful, as vulnerable as it is empowering—a must-hear for fans of innovative and heartfelt music..

The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. Other Worlds and Habitats is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of I Too Am A Stranger, a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.

Never ones to stop moving forward, and ever vigilant to avoid the realm of pastiche, The Sorcerers see the Ethiopique sound as a building block for their natural progression as a group, but a block that sits at the base of a much larger, ever expanding, structure, The addition of keyboardist Johnny Richards, whose use of the Jen 73 piano, Mellotron and Farfisa Compact Duo, alongside the core members of the group, has opened some exciting doors for The Sorcerers, fusing the future looking optimism of the late 60s and 70s (when artists began to experiment with the new electronic technology and synthesisers becoming more readily available) and more traditional sounds. Taking inspiration from Ethiopian keyboardist Hailu Mergia and Nigerian musician William Onyeabor, Other Worlds and Habitats, as the name suggests, showcases The Sorcerers' shift to a new, and deeply exciting, musical landscape.

The Sorcerers’ Other Worlds and Habitats is a natural progression in the world they have created for themselves. Richer for shared experiences, and accepting the rise of the machines, they prove that while their journey is always going forward, there are many different paths to take.

From the sunny shores of Miami, Florida, Fat Produce is leading the charge in today's soul-jazz scene. Their latest release features two classic tracks, "No Way" and "54-46 Was My Number," which are beautifully molded into Fat Produce's unique sound led by guitarist Addison Rifkind and drummer Michael Duffy. This limited 7" single offers a preview of what’s to come from this rising trio.

The influence of Boogaloo Joe Jones is undeniable, so incorporating his 1970s classic "No Way" into their repertoire was a fitting tribute for the band. With a deeper sound and an infectious groove, Fat Produce pays homage to this musical giant, guaranteed to get everyone moving on the dance floor. On the flip side, "54-46 Was My Number" is a reimagination of a Toots & The Maytals original, transformed into the instrumental style of a soul-jazz guitar trio. Rifkind's lyrical guitar work breathes new life into Toots' original vocal melodies, embodying the essence of soul-jazz and crossing genres to keep the spirit of feel-good music alive.

Both tracks were recorded on a Tascam 388 at Studio Del Sol in Boca Raton, Florida, by Travis Acker and mixed at The F-Spot HQ in Los Angeles by D.M.C. With upright bassist Nestor Del Prado joining the duo on this album, Fat Produce's forthcoming sophomore LP is set to be released in October 2025.

Accomplished Polish beat-maker Emapea has made memorable appearances on many Cold Busted label compilations – such as in the IWYMI and Bust Free series – and has been selected for inclusion in Mark Farina’s next Mushroom Jazz installment. All this activity has mouths watering for the debut full length album from Emapea, and the appearance of Seeds, Roots & Fruits doesn’t disappoint one bit. Featuring sixteen exceptional tracks ranging from hip hop to acid jazz to psychedelic trip hop in the style of Mo’Wax, Emapea’s long player is indeed, as a wise man once said, “a journey into sound.” Seeds, Roots & Fruits rises above the average beats album to reveal the enduring depth of this young producer

Dom Salvador, der unscheinbare Pate der brasilianischen Soulmusik, hat mit seiner einzigartigen Fusion aus Jazz, Soul, Funk, Samba und brasilianischen Rhythmen unauslöschliche Spuren hinterlassen. Sein Vermächtnis wird mit Dom Salvador JIDO24 fortgesetzt, das von Adrian Younge und Ali Shaheed Muhammad produziert wurde. Das Album ehrt Salvadors bahnbrechenden Sound, setzt den lebendigen Dialog zwischen brasilianischer und amerikanischer Musik fort und lädt die Hörer ein, seinen reichen, bahnbrechenden Stil zu erleben.

Dom Salvador, der unscheinbare Pate der brasilianischen Soulmusik, hat mit seiner einzigartigen Fusion aus Jazz, Soul, Funk, Samba und brasilianischen Rhythmen unauslöschliche Spuren hinterlassen. Sein Vermächtnis wird mit Dom Salvador JIDO24 fortgesetzt, das von Adrian Younge und Ali Shaheed Muhammad produziert wurde. Das Album ehrt Salvadors bahnbrechenden Sound, setzt den lebendigen Dialog zwischen brasilianischer und amerikanischer Musik fort und lädt die Hörer ein, seinen reichen, bahnbrechenden Stil zu erleben.

Frappé's classic jazzy and funky house EP is FINALLY available on vinyl. 5 tracks from Art Of Tones, Georges, Robby&Stupid Flash, Basile de Suresnes and Ten Fingerz tilting towards the historical influences at the very roots of House music: jazz, piano and funk.

Black Moon Circle return with A Million Leagues Beyond - a powerful new album recorded live at Trondheim"s intimate and legendary Moskus club. Since 2014, the Norwegian trio has built a devoted following with their heavy blend of space rock, psychedelia, and raw jamming energy, earning acclaim for both studio albums and immersive live performances. Moskus is a small bar located in Trondheim that hosts about 70 concerts every year, showcasing genres as diverse as jazz, country, Americana, rock, progressive jazz and occasionally psychedelic hard rock. With a capacity of around 80, the audience faces the stage which barely has room for drums and a couple of amplifiers. Feeding off the intimate atmosphere, Black Moon Circle have done what they do best, conjuring up heavily improvised jams out of thin air.

ETNOBOTANIKA - remember them? Well, now it's KOSMOBOTANIKA!

But rest assured - it's still the same excellent band from Ruda ?l?ska, only this time instead of a forest full of ghosts or a land of fairy tale creatures like a Fruwajacy Przestepca the duo of producers takes us on an interstellar journey!

The artists' third album, just titled KOSMOBOTANIKA, is an over forty-minute work skillfully composed from a multitude of various samples, and genre-wise presenting the sounds of deep house, trip-hop, breakbeat, ambient and even jazz. This is electronic music with a very cinematic, visual and imaginative character, something at which ETNOBOTANIKA has undoubtedly achieved mastery confirmed by their first two very well-received albums. This cinematic style (electronic concept album?) is reminiscent of the classic albums of the genre's progenitors from the UK like The Orb (first releases) or The KLF (the iconic "Chillout" album), but also the French Motorbass.

The Silesian duo does it their own way, of course, with a local twist. Thus, in the cosmic journey our guides will be in-sampled familiar voices from Polish television, cinema, radio and dusty vinyls (yes - samples from Mr. Kleks in Space had to be on the album, of course :) ).
There is no shortage of atmosphere-building instrumental fragments here, but also quite song-like tracks with catchy melodies and vocals. Fans of the band will certainly be satisfied.

What is there to say - ETNOBOTANIKA has created another classic, which simply must be on the shelf :) Trust them and let yourself be taken on a cosmic journey - satisfaction guaranteed!

Over sixty years into a life in music, Amina Claudine Myers revisits old compositions with a quiet force on Solace Of The Mind, her first solo record since receiving an NEA Jazz Master honours. Recorded for Red Hook Records and produced by Sun Chung, it hears Myers at the piano, Hammond B3 organ and mic, reinterpreting personal standards such as 'African Blues', 'Song For Mother E', 'Cairo' and 'Steal Away' with patient, spacious phrasing and the tonal sensitivity she's honed since her days with the AACM. Chung's production renders every harmonic shimmer and pause with startling clarity; a glistening move compared to last year's duo release with Wadada Leo Smith, adding a returnal layer to an otherwise eclectic discography, spanning free jazz and blues-rooted experimentalism. In her words, "I wanted to play (the originals) differently this time."

Los Angeles trio sunking marry hip hop, and electronic influences on their 2nd album I DON"T LIKE MY TELEPHONE. Childhood friends Bobby Granfelt, a jazz drummer and self-proclaimed hip-hop head, Antoine Martel, a synthesist and composer, branched off their mainstay High Pulp to explore their polar opposite tastes and make music as sunking in addition to multi-instrumentalist Victory Nguyen. Their 2022 debut Smug, was more jazz-influenced, while I DON"T LIKE MY TELEPHONE is akin to the early work of beat-driven artists Thundercat, Madlib, and Flying Lotus. They hand selected artists Salami Rose Joe Louis, Niki Randa, Deradoorian, and Takoda to lend vocals and help capture that spirit. I DON"T LIKE MY TELEPHONE as a series of self-contained "micro-compositions," built around Granfelt"s drum loops and Martel"s new gear. In addition to, they were fueled by an increasing love for electronic music artists like Galcher Lustwerk, The Field, and Susumu Yokota, whose 1994 cult classic Acid Mt. Fuji they cite as a particular inspiration. The result is a record as vibrant as a kaleidoscope, and compact as one too, shuffling through more styles and ideas in neat, three-minute chunks of virtuosity.

A powerful transatlantic convergence, Live at the Blue Note New York captures Theon Cross’s electrifying U.S. debut at the legendary club—one of the first jazz albums recorded there in over two decades. Featuring standout performances by Isaiah Collier, James Russell Sims, and Nikos Ziarkas, this live set channels deep musical chemistry into a bold, spiritual statement of modern jazz.

Repress!

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher').

It only seemed natural for the team at ATA Records to scratch their own Library itch and so last year's "The Library Archive Vol. 1" was born. Recorded over a series of sessions in the Alladins cave of vintage recording equipment that is ATA studios, it featured many of the stalwart musicians from the label who can also be found recording with The Sorcerers, Work Money Death and The Lewis Express.

Garnering praise from Library aficionado Shawn Lee("Holy F*$K this sounds great! ATA really smash the classic British Library sound. 10 out of 10") and the Don of British Library Music himsel fAlan Hawkshaw, "The Library Archive Vol. 1" was very well received and so a follow up was inevitable. Recorded during the Autumn of 2020, "The Library Archive Vol. 2" still has the golden age of European Library music squarely in it's sights, but this time the focus is drawn more to the wonky organ work of Italian quartet I Marc 4.

Each track has been lovingly crafted with a keen ear for authenticity and the same eye for detail shown on 'The Library Archive Vol. 1', recorded on the same instruments and equipment and with the same techniques as the music that inspired it.

The Library Archive is a labour of love for the label with more volumes planned.

Jessica Winters Debüt ist ein vollendetes, mutiges und hinterfragendes Album voller Persönlichkeit, das irgendwo zwischen Therapie und Tanzfläche angesiedelt ist. Musikalisch finden sich Anklänge an Kylie Minogue und dem Glanz der 80er-Jahre-Madonna, der Extravaganz von Prince und Queen, der Energie und des gelegentlichen Knurren des Punk und der verträumt hochgezogenen Augenbraue der Psychedelia. In einer Welt, in der maximalistischer Pop zurück ist und Therapie-Memes das Mass aller Dinge sind, ist "My First Album" der perfekte Soundtrack.

Jessica Winter ist eine britische Sängerin, Songwriterin und Produzentin, bekannt für ihre experimentelle Popmusik, die Elemente verschiedener Genres wie Pop, Industrial und Indie vereint. Bisher hat Jessica eine Reihe von EPs veröffentlicht, die ihre Fähigkeit, unkonventionelle Themen und introspektive Texte in Popsongstrukturen einfließen zu lassen, unter Beweis stellen. Zusätzlich zu ihrem Soloprojekt verfügt Winter über eine umfangreiche Liste an Referenzen als Co-Autorin und Produzentin, die mit Künstlern wie The Horrors, The Big Moon, Jazmin Bean, Phoebe Green, Lauren Auder, Pre Goblin, Sundara Karma, Walt Disco und Brodka zusammenarbeitete.

Die international gefeierte Harfenistin Alina Bzhezhinska und der auf Ibiza lebende Produzent Tulshi präsentieren ihr gemeinsames Album "Whispers Of Rain", Alinas Einstand bei Tru Thoughts. Das Album befasst sich mit der Architektur von Erinnerungen und menschlichen Emotionen und nutzt Regen als zentrale Metapher für die Zyklen des Lebens: die Reinigung von Verlust, das Aufblühen von Erneuerung und die tiefe innere Stärke, die in Momenten gelassener Selbstbesinnung entsteht. Als Komponistin, Bandleaderin und Kollaborateurin arbeitete Bzhezhinska mit Legenden wie Brian Jackson, Chaka Khan, Shabaka Hutchings, DJ Spinna und Slide Johnson zusammen. Ihr HipHarpCollective wurde bei den Parliamentary Jazz Awards 2024 zum besten Ensemble des Jahres gekürt, ihr von der Kritik gefeiertes Doppelalbum "Reflections" (BBE) wurde von Presto Music als bestes Album 2023 ausgezeichnet.

+ 7 tracks for the first time on vinyl
* 5 tracks previously unreleased

- Following on from the success of the 2024 editions of The Age of Consent and the incredible viral activity for 'Smalltown Boy', London Records follow up with Forbidden Fruit - a remix compendium to The Age of Consent. Similarly to 1995's Hundreds and Thousands album, The Age of Consent has been re-interpolated to create a new remix album - traversing Hi-NRG, House, Italo Disco and more - while working together as a cohesive listening experience.

A deeply personal journey of an aspiring artist (Solene) navigating the harsh realities of Hollywood. An album that explores the emotional toll of being a hopeless romantic in a city full of predators and narcissists. A raw look at survival — and the trauma that follows. A narrative arc that takes the listener from LA to Las Vegas, only to find the same demons follow: addiction, vices, self-destruction, and the allure of illusion but ultimately setting on a journey of healing: picking oneself up, learning from pain, and choosing hope again and again. A love letter to Jazz, honoring Solene’s roots, with Hip Hop providing the fire and framework, produced by J. Rawls, to create something new: a genre-bending sound that’s soulful, futuristic, and fearless. Midnight Angel is not just an album — it’s a testimony of recovery, and of rebellion.

The legendary jazz bassist Isao Suzuki, revered worldwide for his extraordinary talent, recorded this vibrant session in 1981 alongside his longtime collaborator Tsuyoshi Yamamoto. Now, this rare gem returns on analog vinyl!
Infused throughout with the infectious rhythms of Brazilian music, the album captures a festive spirit brought to life by an all-star lineup including Takayuki Kato, Ichiro Doi, and Donald Bailey.

Acclaimed jazz artist Bill Evans’ Momentum album is the 1972 live album recorded at a concert at Stadsschouwburg in Groningen, the Netherlands.
The trio includes, next to Bill Evans on piano, Eddie Gomez on bass and Marty Morell on drums. The ensemble plays compositions by Bill Evans,

Miles Davis’ “Nardis” and Michel Legrand’s “What Are You Doing The Rest Of Your Life”. The album received the prestigious German award
Preis Der Deutschen Schallplattenkritik.
Momentum is available as a limited edition of 1000 copies on blue coloured vinyl and includes a 4page booklet with extensive liner-notes.

With her highly anticipated CiCi album, Grammy Award-winning icon Ciara steps fully into her power — reclaiming her narrative with clarity, confidence, and the most dynamic soundscape of her career. A celebration of freedom, femininity, and evolution, CiCi is more than a return — it’s a full-on reinvention. Featuring standout singles like “Ecstasy,” “How We Roll” (with Chris Brown), “Wassup” (featuring Busta Rhymes), and “Run It Up” (with BossMan Dlow), the project seamlessly blends Ciara’s R&B and pop legacy with futuristic production and unfiltered storytelling.

Fünf lange, meditative Titel zwischen Jazz, Ambient und World Music präsentiert „Openness Trio“, das
Blue-Note-Debüt eines einzigartigen musikalischen Kollektivs, bestehend aus Gitarrist und Produzent Nate
Mercereau, Saxophonist Josh Johnson und Schlagzeuger Carlos Niño. Die drei Künstler bringen umfassende
Erfahrungen aus der Zusammenarbeit mit Künstlern wie André 3000, Meshell Ndegeocello, Kamasi Washington, Shabaka, Jeff Parker, Makaya McCraven und vielen anderen in das gemeinsame Projekt ein.
Die Musik von Nate Mercereau, Josh Johnson und Carlos Niño ist mal überwältigend und bildhaft („Hawk
Dreams“), mal abstrakt und voll subtiler Stimmungen („Elsewhere“). Alle Titel verbindet die intensive
Kommunikation der drei Künstler, die eindringliche Emotionalität und die Faszination gemeinsamer Erkundungen und Entdeckungen. Die Aufnahmen entstanden in fünf verschiedenen Sessions in Los Angeles und
Ventura County – unter freiem Himmel in den Hügeln von Ojai mit Blick auf die Topatopa Mountains, in
einem stimmungsvollen Wohnzimmer im Elysian Park, in einer „Oak Tree Cathedral“ im Churchill Orchard
in Ojai, inmitten einer Sammlung elektronischer Instrumente im Hof eines Hauses in Echo Park und unter
einem Pfefferbaum in Elsewhere / Topanga Canyon

The one-of-a-kind solo album by legendary jazz bassist Isao Suzuki—originally released in 1981—is now reissued on analog vinyl!

Crafted entirely by Suzuki himself through meticulous multi-track recording, the album features an eclectic mix of instruments including upright bass, Hammond organ, vocoder, Taishogoto, and erhu, along with his own vocals. Not only did he compose and perform all the music, but he also designed the jacket artwork and wrote the liner notes, making this truly a singular, self-contained expression of Isao Suzuki in every sense—a bold, genre-defying one-man masterpiece.

Originally released in 1985 on the legendary independent label Telegraph and reissued here for the first time on vinyl, this is Chance Operation’s debut album. From the heart of 80’s Japanese underground, a crazy strong mix of Post-Punk-Funk-Jazz material by one of the great bands of the era.

Stupid Sexy Paulo is a genre-blending odyssey from Paulo and the Problems, bringing together Fogwood Records labelmates for a truly collaborative experience. Fusing indie rock, R&B, jazz, and hip-hop, the album showcases the collective energy of the label, blurring genre lines with effortless cool. A bold and playful statement, Stupid Sexy Paulo captures the spirit of creative freedom and the power of collaboration

On 2018’s “Folk”, New Orleans songwriter and singer Sabine McCalla presents her own interpretation of grass-roots southern music. Combining elements of jazz, country blues, calypso, New Orleans R&B and Haitian creole compas, Sabine spins stories of heartbreak and hope through intimate arrangements and honest inflections. Recorded by Sam Doores (the Deslondes) and Duff Thompson (Mashed Potato Records), “Folk” exposes Sabine’s love of laments and folk spirituals, her penchant for simple truths and her interest in divining fundamental wisdom about love and loss from a small tangle of words. Commanding in its simplicity, with most songs sung a capella or with minimal guitar or vocal accompaniment, the EP’s five songs tell the stories of lost souls and broken hearts, embedded with painful truths that come to us calmly, the ones that are physically and psychically impossible to ignore.

The Modern Jazz Quartet, known for its sophisticated and elegant approach to jazz, consisted of pianist John Lewis, vibraphonist Milt Jackson, bassist Percy Heath, and drummer Connie Kay

Here are Some key points about the album: "Fontessa" is regarded as one of the Quartet's essential recordings, praised for its elegant performances and refned compositions. The album refects the commitment to creating jazz that is both accessible and artistically ambitious. Critics and jazz enthusiasts often highlight the interplay between Milt Jackson's vibraphone and John Lewis's piano, supported by the solid rhythm section of Percy Heath and Connie Kay. The title track "Fontessa" is a suite in several movements, showcasing the band's ability to merge different musical themes seamlessly; the album includes notable covers such as "Angel Eyes," "Willow Weep for Me," and "Over the Rainbow" all of which are given the Modern Jazz Quartet unique treatment with a mix of lush harmonies and sophisticated improvisation. The album, released in 1956, signifcantly contributed to the evolution of jazz by demonstrating that it could be a serious, artful genre capable of sophisticated expression. The Modern Jazz Quartet infuence extends beyond jazz to classical and popular music, and "Fontessa" remains a testament to their innovative spirit and enduring appeal, a key album in their discography, exemplifying their unique sound and artistic vision.

"Change of the Century" is the second album recorded by Ornette Coleman's quartet featuring Don Cherry on trumpet, Charlie Haden on bass, and Billy Higgins on drums and is considered one of the essential recordings of the avant-garde jazz movement. Ornette Coleman was a revolutionary figure in jazz, known for his innovative approach to improvisation and composition. He pioneered the "free jazz" movement, which broke away from traditional jazz structures and harmonic conventions.

His music often emphasized collective improvisation and thematic development over chord changes. The album's title reflects the spirit of innovation and change that Coleman brought to the jazz world with a significant departure from the bebop and hard bop styles dominant at the time, paving the way for new directions in jazz expression. "Change of the Century" remains a timeless and influential recording that continues to inspire musicians across genres and stands as a testament to Ornette Coleman's Visionary approach to jazz: an essential listening for anyone interested in exploring the outer reaches of improvisation and creativity in jazz.

'Bird and Diz' is the legendary collaboration between two jazz giants: saxophonist Charlie Parker (nicknamed "Bird") and trumpeter Dizzy Gillespie (often referred to as "Diz") key figures in the development of bebop. Their partnership was pivotal in shaping the sound and direction of bebop and their recordings together are considered some of the most influential in jazz history.

This set contains the complete original LP 'Bird and Diz' (Verve MGV-8006), consisting of a quintet session which marked Parker and Gillespie's last studio date ever (although they would later be recorded together live on numerous occasions, including the celebrated 1953 Massey Hall concert). This session was also Parker's only studio encounter with the great Thelonious Monk. Side B features nine alternate takes from the session.

Overall, the partnership between Charlie Parker and Dizzy Gillespie represents a
golden era in jazz history marked by innovation, collaboration and artistic excellence
and their music continues to inspire and captivate listeners, ensuring that Bird and Diz
will always be remembered as two of the greatest figures in the pantheon of jazz
legends.

This album released in 1957 showcases Chet Baker's trumpet skills alongside Bobby Jaspar on tenorsaxophone. The recordings for the album took place between October 25, 1955, and February 10, 1956, at Studio Pathe-Magellan in Paris and features a mix of cool jazz and bop styles with tracks like "How About You," "Once in a While," and "Alone Together." The ensemble of musicians on this album includes notable names such as Jean-Louis Viale on drums, and Benoit Quersin on bass; the album highlighting Baker's distinctive trumpet tone and his collaboration with talented European musicians: "I Get Chet" is a significant work in his discography and reflect his mastery in the cool jazz and bop genres. The tracks are characterized by its relaxed tempos and lighter tone, and bop, known for its complex rhythms and harmonies, it is praised for its lyrical and cool jazz elements. For this and other reasons and considered a gem from Chet Baker's Paris sessions, showcasing his talent during a pivotal time in his career.

LTD Repress !

LIZZ is back on PlayedBy with Chapter II, a compilation of new and unreleased artifacts and other treasures from his dense catalog. Diverse and expansive, it captures his versatile musicianship and ever-evolving production style.

Broadly speaking, there are two types of tracks produced by LIZZ: on one hand rallying for the right to party, and on the other, nostalgic odysseys, sometimes lustful and sometimes wistful. Chapter II has a bit of everything. Thirteen tracks of club heat varied narrative that is worth listening to carefully.

Opener "Seamless" and its steady snare keep spirits high while the spacey keys provide a trippy, out-there vibe. On the flipside, "Clasic Dewan" uses elements we've heard before - warm pads, a percussive organ, and a looped vocal sample - but still makes for a great dancefloor track. Both tracks are a throwback to LIZZ's tried and true Terrafirma.

"Cynelmoon" unravels a labyrinthine universe twisting in and out of misty existence, with its snake-like rattles winding through a maze of synth bleeps.

Refreshing and zippy, "Dip Si M" stands out as a gritty reinterpretation of a great space and sounds like the most fun he's ever had on record. On the other hand, "Chemical Chords" is ethereal, meditative, with a hushed musicality that is almost stoic.

LIZZ takes the listener on a journey of vertiginous peaks and deep valleys as he leads "Round Around" into spiraling locked down looped club music.

Listening to "Nothing with Nothing" feels like a video-game on its own. It’s a bundle of joy and energy, peaking with a crescendo of color.

On "69" the energy builds with such careful, gradual restraint that even the most active listener might wonder how they ever got to this point. Chopped up shards of melody and vocals combine to create a kaleidoscopic funhouse with a strong Perlon-esque flavour.
"Roaki" is the dreamy track with an irresistible groove, where LIZZ combines smooth synth pads with dubby and distorted electronic drums that add a sense of cyberpunk feel, reconfirming's Playedby's fanaticism for this project.

A bubbling, percussive roller marks the beginning of "Jazzohub" and skyrockets from there. The track hits with an inviting vocal that dissolves into a fluid swirl of layered hand drums.
"No More High" is a a real banger. This one bounces hard with a bass-heavy beat and a military snare, leaving you no choice but to tip-toe with its groove all night long.

Chasing an ever-vivid muse,"Electronic World" hits with its drumming rhythms, labyrinth of synth bleeps and bold vocals reminiscent of tunneling club nights.

Closing track "I Am Cross" brings an unusual kind of dark atmosphere to the fore: it's cavernous and enveloping, almost as if the rhythm was an afterthought.

Chapter II is every bit as ambitious as its predecessor. Across thirteen tracks, LIZZ approaches the dancefloor forms of his earlier work with a fresh and voluptuous groovy attitude. Somehow, individually, we must reclaim our own experience.\5

Part of the Jean-Pierre Leloir 180 gram vinyl Collection, Time Out, released in 1959, was an unusual album from the start. While most tunes in occidental popular music are in 4/4, alternating with the 3/4 waltz form here and there, Time Out was devoted to rhythms that had never been previously heard in jazz.
Most of the songs were composed by Brubeck himself. However, one of the most catchy melodies, “Take Five”, was a Paul Desmond composition, and it would become the quartet’s most celebrated tune. “Dave Brubeck’s defining masterpiece,Time Out is one of the most rhythmically innovative albums in jazz history”, wrote Steve Huey in All Music Guide, giving the album five stars.

Released in 1962, "Etta James Sings for Lovers" came out during a time when Etta James was Establishing herself as one of the premier vocalists in the music industry

The early 1960s were a fertile period for soul and R&B music, and James was at the forefront of this movement. It's about an album collection of romantic ballads and standards that showcase her powerful and emotive vocal abilities: known primarily for her blues and R&B hits, this album allows her to explore jazz standards and love ballads, demonstrating her ability to convey complex emotions and connect with listeners on a deep level. The album features accomplished session musicians who provide a sophisticated and polished sound: Over the years, "Etta James Sings for Lovers" has been appreciated as a classic example of a signifcant part of her discography, beloved by fans for its timeless quality. The arrangements feature lush orchestration, with strings and horns providing a rich backdrop for James' vocals and at the time of its release, the album was well-received by critics who praised James' vocal prowess and the sophisticated arrangements.

When a limited edition 45 single landed on the desk of Jazz Room Head Honcho Paul Murphy he contacted the guys straight away. "Do you want a 45 piece of wax released on Jazz Room Records?" Bells were ringing!

The A Side is a Latin Afrosound version of the Sun Ra Classic "Watusa". Featuring members of the Los Angleles based Afro Latin Beat Collective "Jungle Fire".

You might have noticed this getting quite a few spins on the Gilles Peterson show on BBC 6 Music.

The B Side is a funky version of the Charles Mingus composition "Meditations On Integration".

Rush releasing July 2025.

Sleeve Records is back with the reissue of a rare and iconic Cuban album by Los Chikichaka aka "Los Caneyes".

All tracks are composed by "Maestro" Juan Pablo Torres. Get ready to enjoy latin psychedelic rhythms that intersect with afrocuban, jazz-funk, psychedelic, latin jazz and bolero.

The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.

Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.

Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.

Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.

“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute

Wewantsounds is delighted to continue its Algerian music reissue program with the release of Freh Khodja's sought-after 1975 LP, Ken Andy Habib. Recorded in Paris with Les Flammes, a group of immigrant musicians, the album is now reissued for the first time. Selected by Paris-based DJ Cheb Gero, who recently compiled the Sweet Rebels Rai set and curated the Abranis LP release for Wewantsounds, Ken Andi Habib is a masterful blend of Arabic music, jazz, Carribean/Latin grooves and funk. Featuring original artwork, audio remastered by Colorsound Studio, and a two-page insert with new liner notes (French/English) by Algerian journalist Rabah Mezouane.

Step back into one of the most exciting years in pop history – a time when boundary-pushing alternative anthems, flawless dancefloor fillers, global megastars and fresh faces all collided on the charts. NOW - Yearbook 1997 celebrates an unforgettable year of hits with 43 massive tracks across a 3-LP set pressed on gorgeous green vinyl.

LP1 kicks off in style, with the stunning jazz-drenched ballad from legend George Michael, ‘Older’, before Natalie Imbruglia's huge debut single ‘Torn’. The Cardigans had a #2 smash with ‘Lovefool’ and Hanson hit the US & UK #1 with ‘MMMBop’. ‘Barbie Girl’ from Aqua and the Spice Girls’ anthemic ‘Spice Up Your Life’ were both #1s, and Boyzone’s ‘Picture Of You’ was a huge hit and featured in the film ‘Bean: The Ultimate Disaster Movie’. Eurovision glory happened for the UK in 1997, and winners Katrina And The Waves with ‘Love Shine A Light’ close the first side…while over on the other, a second George Michael classic from his ‘Older’ album, the beautiful ‘You Have Been Loved’, opens ahead of another contemporary masterpiece ‘Secret Garden’ from Bruce Springsteen. Texas scored a UK top 5 with ‘Say What You Want’, and Sheryl Crow had a top 10 hit with ‘A Change Would Do You Good’. Paul McCartney’s ‘Young Boy’ is next before ‘Ready To Go’ which gave Republica a Top 20 chart debut, and closing the first LP, Robbie Williams’ ‘Old Before I Die’, which became his second smash as a solo artist.



LP2 kicks off with Radiohead’s defining ‘Paranoid Android’, ahead of Kula Shaker’s hit cover of ‘Hush’, and alt-pop from Embrace (‘All You Good Good People’), The Charlatans (‘North Country Boy’) and The Seahorses (‘Love Is The Law’) before the side closes with Oasis’s huge #1 ‘D’You Know What I Mean?’ – the lead single from their third album ‘Be Here Now’… Flip the LP over and discover some of 1997’s dancefloor gold – opening with the club juggernaut and #1 ‘Professional Widow’ from Tori Amos, remixed for single release by Armand Van Helden, along with Olive’s UK #1 ‘You’re Not Alone’ and the huge ’97 ‘Now Voyager’ remix of ‘You Got The Love’ from The Source feat. Candi Staton. En Vogue’s powerful ‘Don’t Let Go (Love)’ is up next, ahead of ‘I Wanna Be The Only One’, a #1 for Eternal feat. Bebe Winans. LP2 finishes with pure pop gems from 911 with ‘Bodyshakin’, Backstreet Boys with ‘Everybody (Backstreet’s Back)’ and Steps with their debut hit ‘5, 6, 7, 8’.



The final LP opens with Pet Shop Boys’ and their brilliant version of the musical classic ‘Somewhere’, ahead of the genre-blending #1 ‘Your Woman’ from White Town, and the atmospheric ‘Out Of My Mind’ from Duran Duran. Suede’s plaintive ‘Saturday Night’ leads into three of the years’ electronic dance music highlights: Orbital provided the theme to the remake of ‘The Saint’, Moby with his re-imagining of the classic film-series theme: ‘James Bond Theme (Moby’s Re-Version)’ and The Chemical Brothers with the massive ’Block Rockin’ Beats’ completing the side…Turn the LP over for the final side featuring the debut from All Saints with ‘I Know Where It’s At’, and fabulous dance-pop from Whitney Houston with ‘Step By Step’, and both Ultra Naté and Dannii Minogue enjoyed euphoric hits with ‘Free’ and ‘All I Wanna Do’. Pan-European smash ‘Encore Une Fois’ from Sash! is followed by Ricky Martin’s global success ‘María’… but the final word on the collection goes to Elton John. His superb ‘Something About The Way You Look Tonight’ was one half of the biggest selling single of – not only 1997 – but of all time and ends the collection on a perfect pop high.



NOW – Yearbook 1997: A celebration of the diversity and creativity in the charts of a truly magical year in pop.

How would you like to hear it? This project is the brainchild of Andy Baxter, a multi-talented musician and multi-instrumentalist from London. His recording career began in 2018 when he released his first album, Green, on Village Live.

Buoyed by this initial recognition by his peers, he quickly released a second self-produced opus the following year, entitled Dusk. But it was his third LP, Shapes, released by KingUnderground, that took him to the next level.

Conceived during the first period of confinement, Andy played almost every instrument on the album (a few musicians joined in here and there): drums first and foremost, his instrument of choice, but also bass, guitar, keyboards and even the flute, which he had just learnt at the time of the album's creation. Largely inspired by the library music of the 70s, including some of his mentors such as Piero Umilani, David Axelrod and Brian Bennett, the album is nonetheless resolutely modern. But there's no denying the cinematic atmosphere that emanates from his compositions.

From the opening track "We're From Nowhere", with its heavy, funky bass, you get the impression of being plunged into the Harlem blaxploitation of the heyday, and you can't help but see a musical nod to Roy Ayers' "We live in Brooklyn, baby". But you soon realise that far from being a nostalgic musician, Baxter also listens to his contemporaries like Khruangbin and BadBadNotGood, as can be heard on tracks like 'Leaves', 'Odysea' and 'Ikigai', with their atmospheric guitars and Fransesca Uberti's haunting backing vocals, which instantly invite you to travel and escape! But there are times when the mood gets a little tense, like on the more angst-ridden 'Villains', with its almost free jazz flights of fancy. Finally, his drumming also comes to the fore on the last track, 'Stay Free', with its Afrobeat rhythm reminiscent of a certain Tony Allen and evoking creative freedom as a common thread running through his values.

In nine tracks, Shapes takes us on a neo jazz journey that once again demonstrates the vitality of the English scene in this field for several years now! At the start of 2022, Robohands released their latest album, Violet, on the same label, confirming all the good things we thought about them! By allowing a number of musicians to join him on this new opus, Andy Baxter has shown a willingness to work with more accomplished collaborators.

Back in an unmissable picture disc reissue: THE MOOD MOSAIC
Vol.1 – The Hashish Party, ready to win over collectors and vintage sound lovers. Originally released in 1997 by Yellowstone
Records, this iconic compilation blends jazz-funk, lounge, Latin
jazz, soul-jazz, and psychedelia into a truly unique musical
journey.

The tracklist features legendary artists like Serge Gainsbourg,
Michel Legrand, Gábor Szabó, George Shearing, and Shocking
Blue, delivering an irresistible mix of exotic grooves and retro
atmospheres. The picture disc format enhances the series’ visual
appeal, making every copy a true collector’s item

Joe Stilgoe and the Entertainers - the new powerhouse jazz supergroup - have put together a record like no other; a pure love letter to jazz clubs around the world, and the people who frequent them. Titans of the UK jazz scene, singer and pianist Joe Stilgoe and clarinettist Giacomo Smith have come together to form The Entertainers, which features members of Kansas Smitty's House Band, Joe's own band, and guest vocalists Emma Smith and Pete Horsfall. 'Can We Entertain You?' is the first single from the forthcoming album 'Welcome to the Club' and this signed vinyl edition is now available.

A true embodiment of Brazilian Boogie, this is the first official reissue of Brylho's album, founded in Rio de Janeiro in 1978 as Brylho da Cidade. The group was influenced by the Black Rio movement of Tim Maia, Cassiano, and others. Members included Arnaldo Brandão (vocals/bass), Paulo Roquette (guitar), Cláudio Zoli (guitar/vocals), Robério Rafael (drums), Bolão (percussion), and Ricardo Cristaldi (keyboard). Claudio Zoli stands out as an important funk artist of the 1980s, during a time when Pop Rock bands dominated the Brazilian music scene. This album features one of the biggest hits of 1983: the soulful reggae groove "Noite do Prazer." Often described as Rio de Janeiro's answer to George Benson's "Give Me the Night," it's a timeless classic that bridges funk, soul, and Brazilian grooves. On "Se Você For a Salvador," a sun-soaked, feel-good boogie track, younger generations have embraced a new term to describe the sound: Brazilian City Pop. The record also delivers dancefloor heat like the stomping "Jóia Rara," the vibrant soul-reggae fusion "Destrava Maria," the ahead-of-its- time rap-funk hybrid "Cheque Sem Fundo," and the electrifying samba-reggae "Pé de Guerra," rich with Bahian rhythms and energy. Closing out the album are two under-the-radar jazz-funk gems: "Meditando" and "171." Though often lumped into the boogie category, these tracks lean more toward the sleek 1980s jazz-funk sound, reminiscent of UK acts like Level 42.

Dimple Discs is pleased to announce its first release from the Near Jazz Experience. They play wildly improv but tuneful music - cross Can"s rhythm section with Roland Kirk, and Motown and you"ll get close to where The NJE is coming from. These are three musicians at the top of their game. Hint of soundtracks for spaghetti westerns and Bollywood only enriches the mix!

Bobby Lyle is a keyboard legend from the fusion period of jazz in the mid to late 1970s. He was the pianist with Young Holt Unlimited and played with Jimi Hendricks, booked to go on the road with him just ahead of the untimely death. In 1974 he moved to Los Angeles and went on the road with Sly & The Family Stone, and then through dates with Ronnie Laws he met ex-Crusader Wayne Henderson who took him to Capitol Records where this, the first of three iconic albums was released in 1977. Bobby also became Wayne’s keyboard player of choice on his solo albums and productions through the remainder of the 70s and early 80s, contributing to the ‘At Home Production’ sound which defines these albums. “The Genie” was rediscovered in the ‘rare groove’ period of the 80s and is from which Bobby gets his nickname for the lightning pace and magic of his playing. This album is ultimate jazz funk from a period that gave us artists like Lonnie Liston Smith, Joe Sample and Bob James. Bobby still tours to this day with artists like George Benson and Anita Baker.

Cody Currie & Kapote together in the studio! Delivering a 4 track EP that connect proto-disco, neo soul, Chicago house beats and jazz funk in a very spontaneous, super catchy way.
Cody, the London multi-talent musician and Kapote, the Berlin based creative head of Toy Tonics have a lot in common. Both come from studying jazz, knowing different instruments, having played in bands and at the same time being DJs with a huge passion and the skill to rock thousands of people every weekend at the Toy Tonics Jams with a wild mix of different music. They have what we call THE VIBE. Soulful, catchy, intense. When they play records at a party and when they work on tracks. Both play keyboards, bass, guitar and drums. Both sing. And both have funny nicknames that journalists gave them: Cody Currie was called "the Tom Misch of House music" and Kapote the "Wes Anderson of electronic music". Makes us laugh, but also fits well. And yes: Both are a bit crazy... like every extremely talented musician.

This album is one that is always going to be reissued until the end of time. It's pure, raw, inescapably good soul music that was popularised in recent years by Floating Points and his Melodies International label. The 1976 debut album by Chicago soul, rare-groove and jazz-funk fusionists Tomorrow's People was led by the Burton Brothers. This reissue comes on red vinyl for the first time and is full of a dynamic blend of styles-from the sax-driven disco-funk of 'Let's Get Down With The Beat' to the doo-wop-tinged 'Hurry Up Tomorrow' and the fiery 'Hurt Perversion'. The 20-minute title track, Open Soul, is a mesmerising space-soul journey which kicks off this highly sought after gem in style.

Black Josh continues to carve out his own lane with YSL Bootleg, a project that encapsulates his unique presence in underground rap while setting its sights far beyond any imposed labels. This is a release built on the foundations of collaboration and a genuine community of music makers—his years spent with Levelz, the legendary Manchester-based collective that blurred the lines between rap, grime, and rave culture, shaping a generation of artists, and Cult of The Damned, a crew of rappers who raised him, cultivating an audience that has seen him regularly pack venues and tour the UK, AUS and NZ.

The project captures Josh’s signature blend of sharp wit, undeniable Mancunian cadence, and layered references that land harder for those from the North West. It’s the next step for an independent artist who has never signed a record deal yet has amassed millions of streams across tracks like Paul Scholes, Own Ting (featuring Eliza and Jesse James Solomon), and the Skepta-produced, Cigaweed.

This is the first full-length project Josh has released since supporting Danny Brown on tour, an opportunity that saw him sharpen his already unruly stage presence under the mentorship of one of rap’s most unpredictable voices. Their pairing made perfect sense—two outspoken, off-kilter artists with a mutual disregard for convention. That energy is embedded in YSL Bootleg.

The project includes Council Pop featuring Sly Moon, a track that has been doing the rounds since its release last year. A lead single, Aw, Here it Goes, drops Friday February 28th ahead of the full release.

Garfield (track 8), incorporates a genuine jazz breakdown—an unexpected but fitting evolution from the days of sweaty, beer-stained basement shows that were a rite of passage for a young Black Josh. The production across the tape reflects Josh’s versatility, with tracks produced by Blah mastermind Lee Scott and longtime collaborator Sumgii.

With YSL Bootleg, Black Josh once again proves that his music is on his own terms—crafted with his peers, rooted in Manchester but designed to travel far beyond.

Der Saxofonist und Flötist begann seine Zusammenarbeit mit dem Blue-Note-Label Mitte der 1960er Jahre
mit zwei bemerkenswerten Alben (”Fuchsia Swing Song” und ”Contours”), auf denen er ausschließlich
eigene Kompositionen präsentierte. Umso überraschter war die Jazzwelt, als der Avantgardist 1966 mit ”A
New Conception” eine Aufnahme folgen ließ, auf der er auf erstaunlich originelle und entspannte Weise nur
Standards interpretierte. Bis zu seinem Tod im Jahr 2011 sollte dies das einzige Album dieser Art bleiben,
was diese Aufnahme um so reizvoller und kostbarer macht.

Chocolat is the 2000 British-American romantic comedy-drama film directed by Lasse Hallström (The Cider House Rules) starring Juliette Binoche, Judi Dench and Johnny Depp. The film’s enchanting atmosphere is brought to life by the original score from Academy Award-winning composer Rachel Portman. The soundtrack features “Minor Swing” by Django Reinhardt and Stéphane Grappelli, and “Caravan”, the 1936 jazz standard by Duke Ellington and Juan Tizol. The soundtrack was nominated for an Academy Award, next to the four other Oscar nominations.

Chocolat is available as a 25th anniversary edition of 750 numbered copies on mint chocolate marbled vinyl and includes an insert.

Chicago-based composer/producer Joey Meland makes music under the moniker Cocojoey. Treating genre conventions and ostensible barriers between disparate musical vocabularies like playthings to gleefully smash and reshape at will, Meland channels decades of experience as a polymathic professional musician adept in styles like metal, jazz, synthpop, and experimental sound design into their infinitely combinatory compositions. STARS, their first album on Hausu Mountain, follows the self-released COCOJOEY’S WORLD with a spellbinding burst of heart-on-sleeve self-expression. The album finds Cocojoey indulging their most adventurous impulses in production and technical instrumental performance, launching into a constantly morphing program that contrasts day-glo earworm hooks against cathartic moments of screaming intensity. Cocojoey’s music exudes warmth and finger-wagging mischief as it exhumes the depths of their psyche with the pure-hearted goal of making their audience smile — when those listening find a chance to breathe within the ecstatic overstimulation.

The album’s tightly constructed song cycle blasts the listener with moment after moment of novel juxtaposition, both in terms of genre and emotional energy, that keep us reeling in a state of delirious whiplash. Warp-speed piano solos over bossa nova-inflected chord progressions segue into detonations of death metal that front-load Meland’s ferocious screaming vocals and meticulously programmed double-kick drum patterns. A strain of iridescent prog emerges in the sheer overload of notes and ideas, as drum n’ bass breaks collide with labyrinthine multi-time signature keyboard lines and bright flashes of clean vocals. Despite whatever contrasting styles might hit within any given Cocojoey song, Meland returns again and again to the upheaval and release provided by extreme metal — though that idiom lands with joyful exuberance, an abrasive yet heartwarming flavor whose positive energy carries through even to those who might not encounter screams and hyper-technical drum breakdowns in their typical listening regimen.

US veteran JT Donaldson makes the sort of killer tech house that immediately makes you want to move. This time out the Dallas, Texas resident lands on Dolfin Records with a deeper sound that is raw and heavy. 'Choose' rides on knackered-sounding kick with just deft synth smears for company. 'Don't Sweat' has a double-time rhythm with sombre chords adding the soul and 'Want Her Around' gets the hips swinging with its lovely claps, muted, softly glowing sustained synths and lumpy deep house drums. Flipping the script yet again. 'Sunday Drive' is a more nimble and jazzy dancer and 'Take 2' is a sunny house sound with hints of Metro Area nu-disco synth magic and a big fat bassline.

Texas-based Ben Hixon and Atlanta's Stefan Ringer collide on this new split EP for the increasingly vital Dolfin label. It is Ringer who starts with a tight, grinding groove on 'Moving Walkway' with spoken word snippets and kaleidoscopic synth sequences bringing a trippy and unusual energy to the menacing bass. His 'PLGLY' (SR Big Room mix) is then a heavy beatdown with synths that snap and crack while jazzy percussion and dark vocals bring extra character. Hixon's 'Feels Extremely Good' is a busy, off-balance mix of deep house drums and mind-melting synth refrains while 'My Family' offer a blissed-out and soul-drenched closer.

Movie Rock - ein neues Genre wird definiert. Den beiden Komponisten Sven Bergmann & Oliver Bartkowski ist eine wunderbare Symbiose aus Rock und Pop gelungen, die mit klassischen und sogar jazzigen Elementen, sowie Ausflügen ins Reich des Musicals neue Maßstäbe setzen kann. Der Fan von Film-Scores wird gleichermaßen bedient wie der Rockfan, bei dem es auch gerne einmal krachen darf. Bergmann und Bartkowski konnten bereits mit "The Movie Trip Show" ihr Publikum begeistern. Sie komponierten die Musik für den international prämierten Euro-Western "Durch seine Venen fließt Blei - Bullet Vain" und präsentieren nun mit HEAVEN"S SAPPHIRE "Welcome To Wonderworld" ihr erstes Movie-Rock-Album.

“Extremely highhgrade psych” (MOJO, 2024) “Immaculate sounding new psychedelia“ (Maggot Brain, 2024) “Alexander succeeds in capturing the post-psych grandeur that he’s aiming for while also creating one of his headiest offerings yet” (Raven Sings The Blues) “Psych lifer in a bloozy Americana mode. The whole thing hangs loose like a frayed rope tied to a river tube… essentially, a choogler’s dream.” (Viking’s Choice / NPR Music) “Plug in and space your face” (Aquarium Drunkard) Originally on Tape via Arrowhawk (please go check more releases on this wonderful label) - Now on Vinyl Presented in a high gloss laminated outer sleeve with artwork by Jake Blanchard - Both sets of art joining together to complete the picture. 36 minutes of sonic bliss for your ears and brain. Side 1 - Dark Star Side 2 - Dark Star (continued) "Jeffrey Alexander is a lifer. He has been flirting around the underground for the past thirty years - starting in Baltimore in the mid-90s and later percolating in Providence, Pittsburgh, San Francisco and, now, Philadelphia. Throughout this span, he has run various record labels, worked in a bunch of record shops, organized music festivals, managed live venues, FM deejayed, jammed econo, booked endless tours and performed in a gaggle of groups from Black Forest / Black Sea to Dire Wolves to Jackie-O Motherfucker to The Iditarod and points in-between. And now we have The Heavy Lidders. Jeffrey Alexander + The Heavy Lidders takes the freaked improvisation of Alexander’s instrumental band - DWLVS / Dire Wolves Just Exactly Perfect Sisters Band - into the world of song. Heady songwriting, ethereal jazz and Trad Gras-y blues stomps all feature. Backed by members of Elkhorn and Kohoutek. This vinyl (in 2 volumes) you hold in your hands is a collection of live Lidders that will surely wax your stem, and how! When Record Crates United invited JA+THL to perform at their inaugural garden party, not only did the Lidders show up with a one-off Live/Dead cover as a surprise gift for Keith and Sarah, but they rolled in with the Jesse Sheppard mobile multi-track truck, as well. Fucking pros, mate. Most of the material here was captured that sunny afternoon in suburban New Jersey - and thank the Godz that we have this plastic burner. I missed the set, but Kenneth Higney was there and gave it two thumbs up! I know them Lidders have a deluxe studio LP lined up for September, but til then, this little box will comfortably help you break on through. But don’t be fooled into thinking this is a mere EP. It’s SEVENTY SIX minutes of pure medicated goo. Now dose your capstan and pinch your roller. Shit is about to get Lidded." - Glen Burnout (on Sun Ra’s arrival day 2023)

LDF (Lello Di Franco) makes a powerful return to Skylax, this time teaming up with Detroit's own Javonntte. Following his stellar release with Gari Romalis, LDF delivers a release that is pure gold for fans of the original Detroit sound. If you appreciate the styles of Moodymann, Theo Parrish, or Omar S, this record is bound to resonate deeply. The EP opens with "Disco One (All Night Long)," a groove-heavy track that embodies the essence of classic Detroit house. It pulses with soulful basslines and infectious rhythms, setting a hypnotic tone that's perfect for late-night sessions. "Saved" ventures into Chicago acid territory, a tribute to the raw, driving energy of classic acid house. With its punchy 303 basslines and tight, snappy percussion, it channels the best of Chicago's underground with a fresh, modern edge. "After Midnight" offers a smooth, after-hours vibe, balancing deep, jazzy chords with a pulsating rhythm that keeps the energy simmering. It's a track that brings warmth and intimacy, ideal for closing sets or introspective moments. "Martha" is a lush, emotionally rich track that embodies LDF's Italian roots while staying grounded in Detroit's heritage. With warm melodies and a rolling bassline, it delivers a balance between soulful warmth and a classic dancefloor feel. "Love Anthem" is a heartfelt groove, merging lush pads and laid-back percussion with a sense of nostalgic euphoria. It's a track that brings people together, a true love letter to house music. "People From Mars" pays homage to Omar S, with its stripped-down, gritty approach. The track has a rough, analog feel, capturing the raw energy and spirit of Detroit's underground. Finally, "The Dirty Digital Show" closes the EP on an intense note, with a driving rhythm and futuristic soundscapes. As an Italian DJ and producer from Naples, LDF brings his decades of experience—starting from his early inspirations in house and techno in 1993—into this record. Also, as co-owner of Frole Records and co-founder of Basic Frame Distribution, his knowledge of the scene is profound, and it's reflected in each meticulously crafted track. This release is a testament to the timelessness and diversity of house music.

Artwork done by legendary french cult designer H5 (Daft Punk, Air, Etienne de Crecy …)

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

Mit ,Backstage" hat Jay-Jay bereits sein 15. Album veröffentlicht, und seine Inspiration wird ständig erneuert. Hier finden wir die grundlegenden Elemente seines musikalischen Universums: Jazz, Triphop, Pop und sogar einen Hauch von Easy Listening. Die erste Single ,How Long Do You Think We're Gonna Last?" bietet einen köstlichen Soul-Sound, der auf den ersten 14 Alben von Jay-Jay nicht zu hören war. Auf ,Backstage" singt Jay-Jay zum ersten Mal in seiner Diskografie einen Song komplett auf Französisch, der Rimbaud gewidmet ist. Der Text stammt von dem französischen Schriftsteller Renaud Santa Maria. Schließlich liefert Jay-Jay eine persönliche Version von ,Lujon", dem Kultsong zum 100. Geburtstag des Komponisten Henry Mancini. Aufgenommen in Stockholm im Winter 2024, wurde das Album in Paris von Alex Gopher (Air, Phoenix, Bob Sinclar...) gemastert. Für JJJ-Hardcore-Fans: In der Auflage von 1000 LPs gibt es 20 goldene Tickets zu gewinnen, die nach dem Zufallsprinzip verteilt werden. Die goldenen Tickets berechtigen zu einer VIP-Einladung zu einem beliebigen Jay-Jay Johanson-Konzert + Backstage-Treff mit Jay-Jay Johanson. Die CD-Version hat indes zwei Bonustracks aufzuweisen.

First Word Records are proud to present the debut single from Above The Clouds (aka kidkanevil & Magic Manfred) with their instrumental take on an MF DOOM classic, 'Arrow Root'

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite DJ Premier beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains "We did a number of covers to sort of get warmed up and in the pocket, of which 'Arrow Root' was one. I actually interviewed DOOM once, mask and all, and I always regretted I forgot to ask him about the original sample. It's been one of my favourite DOOM beats forever and it came up in conversation one day, then manifested pretty quickly into a session. It came together with relative ease and quickness, which is usually a good sign. Manfred worked out the chords and I remade the drums in about the same time frame. Mario is an exceptional saxophone player based in Berlin, so a few text messages later she came by the studio and nailed the entire thing on her first take. And that was that, our humble tribute to the supervillain!"

This one is backed up on the flip side with 'Tram Delay Beat'; a low slung neck-snapper teasing more of what's to come.

This is the first single from the duo, with a long player now in the works…

Above the crowds, above the clouds, where the sounds are original, infinite skills create miracles…

First Word Records are incredibly proud to bring you ‘I Swear To You’; the stunning sophomore album from Georgie Sweet.

Georgie is a singer / songwriter currently based in Brighton, with a uniquely smooth, soulful vocal tone.

Whilst working on her debut record (‘Misunderstood’), Georgie began a songwriting partnership with multi-instrumentalist Marc Rapson, who is on the boards throughout this project. The duo discovered a natural musical connection instantly, and began working on an abundance of beautiful new material shortly after the release of the first album; writing and creating at Rapson’s home in Hertfordshire at various sessions from 2021 onwards, culminating in this new 12-track album, ‘I Swear To You’.

Despite being one of the UK’s best kept secrets, Georgie’s already been pricking the ears of some highly-respected selectors. The first single from this record (‘Smaller / All That We Were’) received love from tastemakers such as BBC 6 Music's Gilles Peterson (“this one melts”), Jazz FM's Tony Minvielle ("supremely talented”) and Clash Magazine (“exudes soulful grace”), whilst previous material found itself in the crates of legendary luminaries like DJ Jazzy Jeff & DJ Spinna amongst others.

At the end of 2024, Georgie signed to Worldwide Award-winning independent London-based label, First Word Records; although she previously featured before on the label, via the title track of the highly-acclaimed 2021 sophomore album by Children of Zeus, 'Balance', along with Akemi Fox. Prior to this her debut album 'Misunderstood' dropped back in 2020 on Futuristica Music; an independent imprint run by Deborah Jordan & Simon S, on which Georgie also collaborated with acclaimed producers like K15 and Mecca:83.

An all-round creative soul, away from creating music, Georgie also works as an illustrator and animator. However, her lifelong love of music is unquestionable. She’s been a vocalist from a young age, initially working with her musical parents (a producer and professional singer respectively).

With a hugely diverse set of inspirations ranging from Stevie Wonder to Michael McDonald, Hiatus Kaiyote to Chappell Roan, Mac Miller to Sampha, and George Duke to EW&F, Georgie's respect, love and admiration for a wide range of music is clear; from jazz to soul to pop to hip hop.

Rodina is the project of singer-songwriter Aoife Hearty and partner Joe Tatton, keys-player & co-writer from The New Mastersounds and leader of the Joe Tatton Trio. On Good Company, their first new album in 6 years, the two are joined by other great musicians including guitarist Lucas De Mulder, drummer Luke Flowers, The Filthy Six horns, and members of The Haggis Horns, among others.

Like their previous records there is a strong acid jazz slant to many of the songs, whether interpreted through a modern soul lens such as in opener "Simple Pleasures" or swaying more towards cosmic jazz-funk such as "We Go Out Of Our Way" or "Trust In This Life", which were the first singles lifted from the album.

Throw in some hippy Americana and even a tinge of Gospel and you end up with catchy songs that include both uptempo earworms like the super charged foot stomper "Good People" or the festival anthemic "Inspiration" and some beautiful chilled moments such as "All Over The Sky" and "Flowers".

Recorded at their small countryside recording studio in the Peak District this is the fourth vinyl produced at their studio after The New Mastersounds' Old School and Joe Tatton Trio's Galactico.

“We go through life. We shed our skins. We become ourselves.”

This line from Patti Smith was going round and round Felix Manuel’s head as he gradually constructed Under Tangled Silence, his first album in six years and a record of a literal creative rebirth. Felix originally began it in earnest in 2020 Covid lockdown, but a catastrophic hard-drive meltdown destroyed almost all his work and sent him close to psychic collapse himself. However, ultimately this pushed him to rebuild from scratch and in so doing to confront and reassess every part of his musical and psychological processes.

The result is utterly extraordinary. Felix was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as pianist, harpist and more. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.”

But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ. Even just in the opening track “A Tune for Us”, minimalist piano ripples and jazz drumming flow into the breaks of vintage jungle – and as the structure of the LP unfolds, a deep ambient meditation like “Hold” can sit very naturally in between the futurist dancehall of “L’Ancienne” and the high-definition acid house mind movie of “Galaxy in Silence”. In fact, as with the hands-on musicianship, that gutsy big-speaker electronic impact is delivered with more certainty, more expertise, more personal flourishes than ever. And all of those elements are more integrated than ever too: the sound of a total musical personality emerging afresh is truly something to behold. An already remarkable talent has been refreshed, reborn and is making the music of his life.

Founded in 2020 by Austrian producer Lee Stevens, Rising Seed has evolved into a joint venture with Ken Hayakawa and a collective of guest musicians. Blending Acid Jazz, Trip Hop, and Disco, the project bridges the warmth of live instrumentation with the depth of electronic production.
With a strong focus on recording and re sampling real instruments, Rising Seed crafts a rich, organic sound—where vintage samplers, drum machines, and analog textures meet hypnotic grooves and cinematic atmospheres. Inspired by artists like Moby, Kruder & Dorfmeister, and Massive Attack, their debut album True Lies unfolds like a layered collage, blurring the lines between past and future, truth and illusion.
The opening track, “Follow Me,” perfectly embodies this fusion: sampled instruments and vocal snippets blend seamlessly with live recordings of flute and saxophone, all set against a funky drum break. “Gone West” does the unthinkable—marrying a house groove with esoteric vocals, live sitar by Amrith Jan, and—why not?—a touch of harmonica. “Like A Lion” is a dub-infused downbeat track packed with crusty blues samples.
On “Freedom,” we hear a more minimalist side of Rising Seed, with a tight brush-drum arrangement and densely layered sitar melodies. Another high point is “Soldier of Peace,” featuring even more funky sitar and a subtle acid line, reminiscent of the early days of big beat. It’s followed by “True Lies,” which elegantly distills the downbeat sound of the late '90s while staying true to the Rising Seed formula.
“Psych Jazz” is, as the title suggests, both psychedelic and jazzy, albeit with a somber, low-slung trip-hop feel, while “Don’t Worry” is equally trippy yet more upbeat, carried by a moaning vocal sample that urges us not to worry. Finally, “Stay with Me” closes the album with a jazz-infused vibe that is both moody and uplifting, its shuffling drum groove and elegant piano melodies providing a fitting conclusion.

Jazz Side Of The Moon is reissued on 180gram One Step Pressing LP and SACD Hybrid Stereo.

A homage to Pink Floyd's Dark Side Of The Moon, which celebrated its 50th anniversary in 2023, Jazz Side Of The Moon is one of the brightest jewels in the catalog of noted audiophile label Chesky Records.

It was recorded in 2007 in St. Peter's Church, New York, by a jazz supergroup consisting of organist Sam Yahel, drummer Ari Hoenig, guitarist Mike Moreno, and tenor saxophonist Seamus Blake. The quartet put a fresh spin on an old classic, giving it a transformative makeover that honored the spirit of the original 1973 LP while adding something new and refreshingly different. The record's highlights include sensational renditions of the Floyd favorites "Time," "The Great Gig In The Sky" and "Money."

Mr Bongo proudly presents Ritmo Italiano ‘Unspoken Sounds of Italian Tamburo’ a captivating compilation of percussive-driven, Italian gems curated by Sardinian multi-instrumentalist, percussionist and producer, Gabriele Poso. A journey into the heart of Italian musical history, it celebrates Italy’s rich rhythmic traditions, showcasing a selection of genre-traversing, Italian treasures from the ‘60s to the early ‘90s. Honouring the timeless rhythms of Italian percussion masters, alongside a brand-new exclusive composition by Gabriele, ‘Ritmo Italiano’ shines a light on the universal, primal language of the drum.

A connection sparked from an early age; percussion has always deeply resonated with Gabriele. It led to years of studying percussion traditions across Cuba, Puerto Rico, and Brazil, crafting his own songwriting skills in the process. An acclaimed producer and compiler, his releases on Yoruba Records, BBE and Soundway Records have garnered global support. Yet a growing need to rediscover the essence of his country’s cultural heritage laid the foundations for this new compilation.

In Gabriele’s own words, “Italy has always been a crossroads of civilizations, with influences from the Mediterranean, North Africa, the Middle East, and Europe converging over centuries. Ports like Naples, Genoa, and Venice played a crucial role as gateways for musical exchange, a melting pot of sounds and cultures brought by sailors, merchants and travellers. These influences blended with Italy’s own folk and religious traditions, creating Italy’s unique and emotionally resonant rhythms.”

Across the 12 absorbing tracks, there’s jazz influences, Italian library music aesthetics and experimental beats mixing with Afro-Cuban and Mediterranean rhythms. It’s a broad selection anchored by the drums. The synth-heavy, ‘80s jazz funk flavours of Gegè Munari's ‘Police Man’, sit side-by-side with the samba-infused ‘Napulitano D' 'O Brasil’ by Don Marino Barreto Jr. Tribal, earthly energy radiates from Naco’s ‘Volando Con Milton’, with Tullio De Piscopo serving up cosmic disco brilliance, and blistering jazz funk mastery coming courtesy of Agostino Marangolo. Taking the name of the compilation, a new original track by Gabriele, ‘Ritmo Italiano’, blends traditional rhythms with contemporary energy, Afro-Latin influences with Italian jazz essence. Recorded live in one take, it captures a raw, unfiltered vibe.

“Each track tells a story, connecting the past with the present, and highlighting the deep-rooted traditions that shape Italy’s rhythms. The collection also offers a glimpse into the diversity of Italian music with a variety of styles from the organic, earthy beats to the more experimental and modern takes on traditional rhythms. It’s a reflection of how these rhythms have not only shaped Italian culture but also influenced global music.”