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Erstpressung auf pinkem Vinyl. "Breaking The Balls Of History" ist das insgesamt zehnte Album von QUASI, das am zehnten Februar, zehn Jahre nach ihrer letzten Platte, erscheint. Drei Zehner, was sich mit den dreißig Jahren deckt, die sie zusammenspielen. Sam Coomes und Janet Weiss sind zu Ikonen des pazifischen Nordwestens geworden, und QUASI hat sich immer so beständig angefühlt - ihre dauerhafte Freundschaft so generativ, ihre Energie unendlich, jedes Album rauer und eingängiger und wilder und lustiger als das letzte. Aber wir haben uns geirrt, QUASI jemals für selbstverständlich zu halten. Eine Zeit lang dachten sie, dass das komplizierte "Mole City" von 2013 ihr letztes Album sein könnte. Sie würden mit einem großartigen Album abtreten und weiterziehen. Dann, im August 2019, krachte ein Auto in Janets Haus und brach ihr beide Beine und das Schlüsselbein. Dann kam ein tödlicher Virus über uns, und niemand wusste, wann oder ob Live-Musik, wie wir sie kannten, jemals wieder würde stattfinden können. "There's no investing in the future anymore", erkannte Janet. "The future is now. Do it now if you want to do it. Don't put it off. All those things you only realize when it's almost too late. It could be gone in a second." Während des Lockdowns standen die Straßen von Portland still, Flugzeuge verschwanden, wilde Tiere tauchten auf. Und mit der ausgelöschten Normalität kam ein unerwartetes Geschenk: ununterbrochene Zeit, Stunden am Tag, um Kunst zu machen. QUASI konnten nicht auf Tournee gehen, also hatten sie eine Idee: Sie taten so, als wären sie auf Tournee und spielten jeden Tag zusammen. Jeden Nachmittag verschanzten sich Sam und Janet in ihrem winzigen Übungsraum und kanalisierten die Verwirrung und Absurdität dieser fremden neuen Welt in Songs. Sie beschlossen, dass sie die Songs live und gemeinsam aufnehmen würden, um einen Moment einzufangen. Das unglaubliche Ergebnis dieser Sessions ist "Breaking The Balls Of History", aufgenommen in fünf Tagen und produziert von John Goodmanson. Hier sind zwei Künstler*innen in ihrer Blütezeit, jede*r ein menschlicher Fundus an musikalischem Wissen und Erfahrung, völlig unverwechselbar in ihrem Songwriting und Sound. In der QUASI-Form wird die Band alchemistisch noch größer als die Summe ihrer Teile. Mitten in einem katastrophalen sozialen und politischen Moment haben sie exquisite, melodische Songs geschaffen, die vor Wut, wildem Humor und Intelligenz nur so sprühen, angetrieben von einem großen, zerschundenen, pochenden Herzen. "A last long laugh at the edge of death", singt Sam zu Beginn des Albums, und dieser fröhliche Trotz - der genauso gut der Logbuch-Eintrag unserer Gegenwart sein könnte - gibt den Ton für die kommenden Songs an. Es klingt düster, und das ist es auch, weil es sich dem Moment stellt. Aber es ist auch eine Platte, die vor Energie, Vergnügen und Freude nur so strotzt.

The Rolling Stones legen die ultimative Live Best Of Sammlung vor: ”GRRR Live!”
2012 und 2013 feierten die Rolling Stones ihr goldenes Jubiläum mit der ”50 & Counting”-Tour durch Nordamerika und Europa. Bei dem Konzert am 15.12.2012 im Prudential Centre, New Jersey, begleitete ein unglaubliches Line-up von Gästen die Band auf der Bühne – Lady Gaga, The Black Keys, Bruce Springsteen, Gary Clark Jr, John Mayer & Mick Taylor. Das Konzert erwies sich als eine der bemerkenswertesten Shows in der Geschichte der Band. Nun wurde das Konzert neu bearbeitet und neu abgemischt.

Released in the summer of 1969, Syl Johnson's first full length outing compiles the fruits of his late '60s Twinight sides. Included are the seminal, and often sampled, hits "Come On Sock It To Me" and "Different Strokes." Issued on 150-gram vinyl and housed in a tip-on jacket, Dresses Too Short is the perfect entry point for any exploration of this soul titan's most fruitful years.

Cornetist Don Cherry first rose to prominence as part of the revolutionary Ornette Coleman Quartet that turned the jazz world on its ear in 1959 when it arrived at the Five Spot Café in NYC. Though Cherry co-led the album The Avant-Garde with John Coltrane in 1961, it wasn’t until he signed with Blue Note in 1965 that he began his career as a leader with a run of fiery albums including Complete Communion, Symphony for Improvisers, and 1966’s Where Is Brooklyn? This last session was a highly interactive quartet date that featured Pharoah Sanders on tenor saxophone and piccolo, Henry Grimes on bass, and Ed Blackwell on drums. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. from Coleman's playful lyricism.

Moreover, the rhythm team of Ed Blackwell on drums and Henry Grimes on bass provides a scintillating underpinning for the music that is worth listening to all on its own. Sanders' mix of Coltrane's yearning long notes, Ayler's ghostly, fluttering wail, Coleman's fast, bumpy phrasing and his own manic bagpipe screams certainly separates the faint-hearted from the stayers on the opening Awake Nu. But the conversation between Sanders and Cherry is light, lyrical and engaging on The Thing, and the saxophonist even gets into a stubborn, Sonny Rollins-like repeating Latin vamp on There Is the Bomb. An unflinchingly quirky classic. (THE GUARDIAN)

PRESSED ON CRYSTAL CLEAR VINYL HOUSED IN A GATEFOLD JACKET WITH JAPANESE STYLIZED INSERT AND DELUXE OBI STRIP

Remastered From The Original Analog Tapes

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

Der Score von Felix White (ex-Maccabees) zum 'McEnroe' Sportbiopic (2022) von Regisseur Barney Douglas, ein intimes, von John McEnroe selbst erzähltes Porträt einer der explosivsten und fesselndsten Sportikonen aller Zeiten. Der Film enthält unveröffentlichtes Filmmaterial, Beiträge der Familie, Billie Jean King, Björn Borg und Keith Richards über das goldene Zeitalter des Tennis und den Exzess der 80er Jahre in Johns Heimatstadt: New York City.

Blue Vinyl

Der Score von Felix White (ex-Maccabees) zum 'McEnroe' Sportbiopic (2022) von Regisseur Barney Douglas, ein intimes, von John McEnroe selbst erzähltes Porträt einer der explosivsten und fesselndsten Sportikonen aller Zeiten. Der Film enthält unveröffentlichtes Filmmaterial, Beiträge der Familie, Billie Jean King, Björn Borg und Keith Richards über das goldene Zeitalter des Tennis und den Exzess der 80er Jahre in Johns Heimatstadt: New York City.

PUPPY formed in 2015 when school friends Jock Norton (vocals, guitar) and Billy Howard (drums) met bass player Will Michael while working in a London bar. Later that same year, the band released their eponymous debut EP, that quickly earned comparisons to acts like The Smashing Pumpkins and Dinosaur Jr. A second EP quickly followed in 2016, and “Vol ii” saw the band take their first major steps into the live sphere, with UK festival appearances at Download and 2000 Trees. The Goat, Puppy's debut album, was released in January 2019, while the band were midway through an epic European tour with Monster Magnet. In support of the album, the band recorded a live set at BBC’s iconic Maida Vale studios (their second), and racked up festival appearances everywhere from Glastonbury to Bloodstock Open Air. That year also saw PUPPY travel to the US for the first time, selling out a headline show in Brooklyn’s iconic St Vitus Bar for Revolver Magazine. Without missing a beat, the band saw out the year by releasing a surprise EP, ‘iii’, and is now ready to open a new chapter.

It seems fitting that a trilogy of albums celebrating nature should conclude some eight years after its second chapter. Manchester-via-Todmorden based instrumental trio Plank’s first two LPs – 2012’s kosmiche-inspired Animalism and 2014’s more expansive and structurally disruptive follow-up Hivemind – enjoyed relatively quick gestation periods. However, Plank are firm believers in letting nature run its course, and so it is that their third LP Future of the Sea arrives early in 2023. “I always knew I wanted to make three albums inspired by nature” says Plank main-man David Rowe (synths / guitar). “Future of the Sea is another exploration into odd time signatures and traditional rock instruments alongside synths and electronics.”

“Future of the Sea is a celebration of the power and majesty of our oceans and how humankind has been destroying them through industrial scale fishing and global warming” says Rowe. “Rachel Carson put it more eloquently in her book The Sea Around Us: ‘It is a curious situation that the sea, from which life first arose should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’” A post apocalyptic underwater city scape adorns the cover in an illustration by Jake Blanchard, whose work you'll also see on Richard Dawson's latest album 'The Ruby Cord'.
The synthetic nature of Plank’s sprawling rock odysseys feel at their most pronounced on Future of the Sea which leans to the band’s love of Pink Floyd era Meddle, Camel, film score composers like John Carpenter and Vangelis, 70s experimentalists Harmonia, 1980s King Crimson and 90s post-rock adjacent group Tortoise. In polyrhythmic dexterity if not heaviness, Plank also take some influence from Meshuggah, and it’s in their movement between the 16 minute final album track’s sections that it feels most prominent. They swerve from crunching stoner rock jams to more ambient spatial explorations, crescendoing progressive peaks, 80s synth pop and finally a crushing riff-laden finale.

Historically Fucked is a four way entanglement made to create short, eruptive songs and then set about obliterating them from the inside, like improvising a barrel to encase themselves in and then proceeding to lick their way out of it. It is about playing and laughing at playing, and it is about not doing either of those things sometimes. Sometimes it is to do with talking, howling or grunting, and sometimes it is to do with hitting and rubbing.
Historically Fucked contains four people, who each share the same duties, and whose names in sequence are Otto Willberg, David Birchall, Greta Buitkuté and Alecs Pierce. They are from Manchester and often other places. Guitar, bass, drums and voices keenly jostle amid the group’s frenzy of spontaneous rock throttles. Some of these rampant exercises in avant are collected on ‘The Mule Peasants’ Revolt of 12,067’, the band’s new album, released by Upset The Rhythm on February 3rd. This is the group’s first release since 2018’s mantlepiece staple ‘Aliven Wool’ (Heavy Petting). This is Rock and/or Roll as fertilizer, uncivilised and free, as if one were to imagine what the Plastic Ono Band would’ve hit upon if they had read ‘Riddley Walker’, the sound of an entire timeline of expression put back together back-to-front, misshapen and irradiated.

‘The Mule Peasants’ Revolt of 12,067’ is not mere Sedentary Rock but Blasted Basalt, Frog worshipping cave-funk, harmolodic hullabaloo-wop, a musical game of “badger in the bag”. It is the sound of sacks crammed full of aggregate, a chimerical mind-meld, a seductive din that is to a hound dog in blue suede shoes what a raking of the dorsal fin with a fat marrow pinecone is to a pelican in the midst of being fired from the academy.

‘The Mule Peasants’ Revolt of 12,067’ by Historically Fucked was recorded by Rory Salter, mixed by Otto Willberg and mastered by Mikey Young. The liminally worrisome artwork was painted by John Cobweaver.

“They say these days that History is Fucked. Nothing ever dies but continues to rule the earth as an undead tyrant that cannot accept its own decomposition, look earwardly upon the dance of the proudly dead and decrepit!”

Vymethoxy Redspiders, Leeds 2022

A collection of improvisational electronic mantras, premiered earlier this year on NTS, where Parisian artist Shelter explores odd meters, Indian-inspired drum cycles and expansive drone harmonics. It's a dreamed folklore, reminiscent of Hariprasad Chaurasia and Charanjit Singh's Eternity, John Hassel's fourth world or Craig Leon's Nommos. The LP blurs the line between organic and synthesis where drum machines melt into surreal harmonium textures and programming is indistinguishable from improvisation.

The members of short lived Palm Desert, CA stoner/desert rock trailblazers Kyuss went their separate ways in 1995 after only four genre defining albums with Josh Homme and Nick Oliveri forming Queens of the Stone Age, John Garcia founding groups Unida, Slo Burn, and Hermana, and Brant Bjork joining Fu Manchu. 2000 posthumous compilation Muchas Gracias: The Best of Kyuss gathered a selection of 15 rare tracks, B-sides and live cuts. Available for the first time on vinyl in the U.S., Run Out Groove offers up a colored 2LP pressing of the hard to find album with deluxe packaging.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.[1][2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one
of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.

Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet’s galloping drums and Sam’s punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they’ve crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart.

• Our next installment on Bob Stanley’s Measured Mile label is a KPM Library double header. Basil Kirchin and Jack Nathan’s ‘Viva La Tamla Motown’ is pulled from the rare “The Wild One” LP they recorded for De Wolfe in 1966 and, instrumentally, celebrates Berry Gordy’s classic Detroit label.

• The flip is taken from the equally collectable 1972 De Wolfe library LP called “Hogan The Hawk & Dirty John Crown” where ‘Main Chance’ is described as “moody, beaty – featuring synthesiser.” It’s a stone-cold rhythmic beauty well worth a spin on anybody’s turntable – so, give both a chance.

"I begin our sixth album by exploring melodies that take me to the boundaries of my voice. I write myself into my highest highs and lowest lows. There is a precariousness in the outer limits of my range that demands vulnerability. As our demos take shape, I realize this will be our first album without any belting, the first time I can’t force my way through the notes," recalls Tennis' Alania Moore. "In the studio, Patrick compresses the shit out of my mic and I sing with the gentleness of breathing. In that softness, lyrics take shape. We want to write a big album—something suited for radio, but our songs don’t follow conventional pop structures. Instead of choruses with universal themes, I write with a specificity that is new to me, narrowing in on the smallest details of our lives. The more we try to broaden our scope, the more we turn inward." "We name the album Pollen. It is about small things with big consequences: a particle, a moment, a choice. It is me in a fragile state; sometimes inhabited freely, sometimes reacted against. It is striving to remain in a moment without slipping into dread. It is about the way I can be undone by a very small thing." Tennis is Alaina Moore and Patrick Riley. Pollen is their sixth album. The two met in the philosophy department at the University of Colorado in 2008 after dropping out of their respective music programs. In the years after graduating, they got involved in Denver’s DIY music scene. Through house shows, they were connected with Underwater Peoples and Firetalk. The band went blog-viral nearly overnight, landing them a record deal with Fat Possum and then Communion Records, but with shifting labels and new interests, Tennis chose an alternate path for their band and career. In 2016, Moore and Riley formed the label Mutually Detrimental and began self-releasing. Their newfound freedom allowed them to return to their sailboat to write their next full-length, this time in the Sea of Cortez. Yours Conditionally, released in 2017, became their most commercially successful album–charting at #4 on Billboard’s Independent list and in the top 100 highest selling vinyl releases that year. They played Coachella and opened for artists like The National, Father John Misty and The Shins–proving their DIY roots as a cornerstone to their sound and narrative. Their follow up Swimmer (2020), was recorded in their home studio with Moore and Riley producing and engineering. The pair brought their long-time touring member Steve Voss in for the second time to drum on record. The singles, Need Your Love and Runner, were Tennis’ most successful releases to date.

wieder lieferbar Weather Report waren eine der Supergruppen der 70er- und frühen 80er-Jahre. 2010 jährte sich der 40. Gründungstag der Band, die von dem legendären Keyboarder Joe Zawinul und dem Saxofonisten Wayne Shorter 1970 ins Leben gerufen wurde und zu den Pionieren der Jazz-Fusion zählt. 1975, zur Zeit der Veröffentlichung ihres fünften Albums "Tale Spinnin"", war die Gruppe Gast der Berliner Jazztage. Dort legte man einen fulminanten Auftritt hin, der mit dieser CD bzw. LP erstmals auf Tonträger zu hören ist. Remastert und in bester Qualität erstrahlen Hits wie "Mysterious Traveller", "Scarlet Woman" und "Badia/Boogie Woogie Waltz" in neuem Glanz. Neben Zawinul und Shorter sind Alphonso Johnson am Bass, Perkussionist Alex Acuna und Chester Thompson am Schlagzeug mit von der Partie. "Live In Berlin 1975" markiert den Auftakt einer CD-Reihe mit Konzerten der US-Supergroup, die auf dem Label Art Of Groove erscheint.

Alle Songs von John Lennon and
Paul McCartney, ausgenommen "If I
Needed Someone", das von George
Harrison stammt. "Life on Mars?"
wurde von David Bowie geschrieben.

The Men collection is back with a new double vinyl dedicated to the greatest voices of the Blues including the man who inspired Elvis Presley, BB King.

What is the sound of feeling?
In physics, we conceive of sound as waves. Vibrations, undulations, physical manifestations: heard but not seen. Borne by the body but interpreted in the brain.
Within ourselves, we perceive emotion as waves, too. Rolling in, rolling out: tidal, even. In moments of violet intensity, the depth of our feeling crashes upon us like surf, rip currents on a corporeal beach.
Worlds apart, but waves in kind. For musician and composer Jo Johnson, the veil between is diaphanous indeed. What you hear is what you feel. Listen and uncover.
Jo Johnson has releases on Further Records, Going In (a sub-label of The Bunker), Verdant and Apartment

Imagine a designer, who, after having traveled around the world, cuts her hair in a crew cut, sings « Voyage, Voyage » and will thus become number 1 in more than fifty countries including France, Germany, Spain, Russia, Israel, and many Asian
countries ! A real media phenomenon, Desireless hits a second hit with « John » before bowing out and heading off to other horizons.
We were no longer going to be deprived of the desire to listen to these now cult titles which met with dazzling success in the firmament of the Top 50 and European hit parades. This album, which includes 10 fully remastered tracks, is the ultimate testimony to the dazzling career of the New Wave diva and her collaboration with talented producers, such as her friend DJ Esteban, who delivers a super International Club Remix. The pop icon also offers an amazing acoustic version of her favorite hit, for the first time
on vinyl !
Limited Series, Colored Vinyl, including 2 versions of Voyage, Voyage.

Upcoming release by AR.T comes around with two superb remixes by John Selway and Saverio Celestri!
Highly recommended!

Brussel's beat smith DC SALAS is back on the block - the Robert Johnson block that is! His 3rd release for LIVE AT ROBERT JOHNSON is also his 20th official release so far - so we have two things to celebrate spread over Diego Cortez Salas' powerful four-tracks EP called »Voces«.

Let's start with the title track: »Voces« is a call to alarm right from the beginning with its stabbing synth bass line and sirens. Add a couple of drum breaks and a heavy beat - et voilà: You have the first of four tunes to jump up and down to. Et oui, Salas surely knows how to build tension in a track - even in a voiceless track named »Voces«.

Next up is »The Lights« - and oh boy does Salas turn them on! These are quite trippy lights with a sound that could easily come from a twisted didgeridoo … The beat of »The Lights« is (of course) groovy as f*** - excuse our French. So let's turn on »The Lights«!

B-side opener »Metallic Glow« does just that: The track glows in bright metallic from the first second and features plenty of crazy sounds to do a crazy dance. Did we mention the groove? No? Well … just listen.

For »Safe Pace« Diego pulls out beautiful percussive elements and the 303 thus surfing on a not-so-safe pace to be honest: The last track of »Voces« is as fast and demanding as all the others.

DC Salas again managed to build four really solid stompers here to set any dancefloor on fire - without using any voice or vocal - these are REALLY SERIOUS SOUNDS you all should listen and dance to. NOW.

Pink Vinyl

er französischen New-Wave-/Pop-Künstlerin Desireless gelangen in den 1980er Jahren mit 'Voyage, Voyage' und 'John' zwei Welthits, darunter die Nr.1 in mehr als 50 Ländern. Diese Kollektion mit 10 neuen Remasters ist das ultimative Zeugnis ihrer schillernden Karriere. Beide Hits sind erstmals als Akustikversionen auf Vinyl erhältlich, dazu gibt es 'Voyage, Voyage' im Instrumental Club Remix von DJ Esteban. Ltd. Auflage auf pinkfarbenem Vinyl.

WITH THE MEN & WOMEN COLLECTION, FIND THE GREATEST FEMALE AND MALE ARTISTS OF FUNK, SOUL, JAZZ AND BLUES IN A DOUBLE VINYL AND BLUES IN A COLLECTION OF DOUBLE VINYLS

It is recognized today that these tutelary pieces for four pianos are among the most powerful in contemporary music,their impact is almost unparalleled. After the historical version recorded forty years ago, this one, featuring four of the greatest European performers, is now regaining its full power. High level recordings too.

There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic - undoubtedly also one of the most powerful, and it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny : suffering from various addictions, declared missing, actually homeless. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.

The Performers Nicolas Horvath, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations - he has collaborated with leading contemporary composers from around the world, including Alvin Lucier, Alvin Curran and Valentyn Silvestrov - the recordings of his complete works for piano by Phil Glass made a lasting impression. He has collaborated recently with Lustmord on the Deconstruction of November by Dennis Johnson (Sub Rosa SR502: The Fall).

Melaine Dalibert, a French composer and pianist, fascinated by natural phenomena which are both expected and unpredictable, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series.

Stephane Ginsburgh, a tireless surveyor of the repertoire but also explorer of new music, collaborated with composers such as Philippe Boesmans, Jean-Luc Fafchamps, Stefan Prins, Frederic Rzewski and Matthew Shlomowitz of whom he premiered works, as well as with choreographers such as Anne Teresa De Keersmaeker (Rosas) and recorded Feldman, Duchamp and Satie for Sub Rosa and the complete set of Prokofiev piano sonatas for Cypres. Wilhem Latchoumia, he embraces both new music and the classical repertoire with success and charisma. His two last recordings for La Dolce Volta (Prokofiev and de Falla) have been highly acclaimed by critics with a FFFF in Télérama. Winner of the Hewlett-Packard Foundation and the Montsalvatge International Piano Competition, he brilliantly won the First Prize in the 2006 Orléans International Piano Competition.

REISSUE

Color Changes is considered by many to be one of the finest albums by trumpeter and pioneer of the flugelhorn in jazz, Clark Terry. Rather than the usual jam session, Terry utilized specific arrangements by Yusef Lateef, Budd Johnson, and Al Cohn for this 1960 date. At the time of this recording, he had recently finished a stint with Charles Mingus" group and one can hear the subtle influence that association had on these sessions. The result is an album which ranges through many moods and many textures, which is why the album was titled, Color Changes. This brand new reissue is available on CD and LP (180g) and has been remastered from the original Candid Records master tapes by Bernie Grundman.

Déjà vu is translated as “already seen” but for South California native Ben Schwab, his discovery in a small Ohio town 2000 miles from home led to an epiphany of creating the “already heard.” Unearthing a box of 1975 cassette tapes of his father’s old band, the recordings or “Sylvies” as Ben would affectionately call them later became the imprint for a familiar feeling he would end up chasing. The songs were timeless, effortless, and soulful.

Awakening senses to the eternal quality of hidden or lost music, Sylvie fully encompasses that very same musical lineage and spirit living in those lost yet beloved time capsules. Recorded years before by Ben’s father, John Schwab and his own band Mad Anthony in a Southern California barn, those reels spoke of a common narrative at the time; a band close to a record deal which never came, so the tapes were boxed up and stored in a closet for years to come. “Dad’s songs are straight from the heart and really shaped my taste and imagination for songwriting in a permanent way,” Ben reveals. Taking the name from one of those early recordings an obscure cover of a 70s track by Ian Matthews ‘Sylvie’ would inspire his project’s namesake and feature as the album’s only cover. “It’s an incredible song from the past but for whatever reason, is basically unknown,” Ben offers by way of an explanation.

Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.

Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s

not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.

Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.

Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s

not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.

2012 album from the Italian/Norwegian Metal band. Mixing and mastering sessions featured Stefano "Saul" Morabito behind the knobs and Marchello Baltadjiev for the cover artwork. 11 tracks, 46 minutes of what can be easily defined as relentless death metal at its finest. The lyrical concept is based on John Carpenter's immortal masterstroke "They Live", dramatically relevant testimony of a dark era that never ended. credits

The WAEVE - composed of Graham Coxon and
Rose Elinor Dougall – release their eponymous
debut album on Transgressive Records.
Produced by The WAEVE and James Ford (Arctic
Monkeys, Florence & The Machine, Foals, HAIM)
and recorded in London earlier this year, ‘The
WAEVE’ is a collection of 10 new tracks from
songwriters Graham Coxon and Rose Elinor
Dougall.
Joining creative forces in The WAEVE gave the
duo the opportunity to push past their instrumental
comfort zones. Many tracks feature Graham on
saxophone, one of the first instruments he played
as a young musician back in the 80s.
First single, ‘Can I Call You’, starts as a ballad then
morphs into a Krautrock-style motorik number with
a sprawling Coxon guitar solo. ‘All Along’ features
Graham on cittern, a medieval folk lute. Rose plays
piano and an ARP 2000 modular synth.
The heavy weather all over ‘The WAEVE’ recalls
the blustery folk rock of Sandy Denny or John &
Beverly Martyn, while tracks such as ‘Kill Me
Again‘ and ‘Over and Over’ recall the 70s rock of
Kevin Ayers or Van der Graaf Generator, almost
industrial in places.

Der gefeierte australische Sänger, Songwriter und The Go-Betweens Gründer Robert Forster kündigt sein achtes Soloalbum an: "The Candle And The Flame" erscheint am 3. Februar 2023 bei Tapete Records. "The Candle And The Flame" enthält neun Songs, geschrieben von Forster. Das Album wurde produziert von Forster, seiner Frau Karin Bäumler sowie Louis Forster (The Goon Sax) und gemischt von Victor Van Vugt (Nick Cave and The Bad Seeds, PJ Harvey). Mit von der Partie sind die ehemalige Go-Betweens- und Warm Nights-Bassistin Adele Pickvance sowie Scott Bromiley und Luke McDonald (The John Steele Singers), der auch auf Forsters Alben "Inferno" und "Songs To Play" gespielt hat. Großartige, zutiefst inspirierte Musik entsteht manchmal ganz unerwartet - in richtig schwierigen Zeiten, aber manchmal auch in Zeiten größter Zufriedenheit. 2021 hatte Robert Forster eine Reihe von Songs fertig, die er in den vergangenen drei Jahren geschrieben hatte. Diese sollten die Grundlage seines neuen Albums bilden. Die Songs waren stark und emotional wie aus einem Guss. Selbst der Autor war überrascht: Sie boten eine neue Perspektive, waren persönlicher und erzählten von den Menschen, die ihm am nächsten standen. Es gab noch ein weiteres Songfragment - nur Musik und Melodie, noch ohne Text. Da Robert zeitgleich an seinem ersten Roman arbeitete, eilte es nicht. Die neuen Songs konnten auch noch eine Weile warten. Doch das Leben stellte ihn plötzlich vor ganz neue Herausforderungen: Im Juli 2021 erhielt Roberts Frau Karin Bäumler, mit der er auch gemeinsam Musik macht, die Diagnose Eierstockkrebs. Und so standen also erst einmal Krankenhaus, Tests und Chemotherapie auf der Agenda. Eine intensive Zeit voller Angst und Hoffnung. Wie so oft in ihrer seit 32 Jahren währenden Beziehung war Musik der Fels in der Brandung, der Zufluchtsort. "Die Aufnahmesessions für das Album fanden sporadisch über sechs Monate statt. Manchmal nur ein oder zwei Tage im Monat. Das war alles, was Karins Kraft und ihr Zustand zuließen. Wir mussten also "live" aufnehmen, magische Momente einfangen und auf "Gefühl" setzen. Und das ist der Sound des Albums geworden", sagt Robert.

For Dancer Only ist die legendäre Clubnacht von Bill Kealey, dem ebenso trinkfesten wie umtriebigen Sammler und Jäger aus Dublin. Quasi jedes Wochenende ist er mit seinem 7"-Vinylkoffer unterwegs und beglückt die Massen. Da er das schon ein paar Jahrzehnte macht, gehört er zur absoluten Champions League derer, die sich mit Rhythm & Blues der 50er und all seinen Spielarten beschäftigen. Dies ist seine erste Compilation und wir behaupten, dass es eine der Besten ist, die Stag-O-Lee je veröffentlicht hat.

James Brandon Lewis is a New York-based jazz tenor saxophonist, composer, and bandleader. His instrumental voice marries the emotional power of gospel and the grit and groove of blues and R&B to the modal and vanguard influences of Albert Ayler and John Coltrane, and Sonny Rollins" expressive melodic and tonal discipline. Moments, his 2010 debut, was followed by two outings for Sony Masterworks" revived OKeh imprint: Divine Travels in 2014 and the widely celebrated Days of Freeman the following year. After working American stages and clubs, he toured European and Asian festivals. Radiant Imprints, a duo outing with drummer Chad Taylor, appeared in 2018 and was followed by the quintet offering An UnRuly Manifesto a year later. In 2021, after he was selected as the "Rising Star Tenor Saxophonist" in the Downbeat International Critics Poll, Lewis issued The Jesup Wagon, his debut for Tao Forms. Along the way, Lewis drew the attention of many improvising artists, most notably the saxophonist and jazz deity Sonny Rollins, who doesn"t offer effusive praise very often. Moved by Lewis" deep, spirit-seeking sound, Rollins said "When I listen to you, I listen to Buddha, I listen to Confucius ... I listen to the deeper meaning of life. You are keeping the world in balance." Eye of I opens with 44 seconds of gritty, high-throttling low-down groove, an ear pulverizing opening designed to cleanse all traces of ordinary from the palette. From there, Lewis offers a prayerful cover of Donnie Hathaway"s "Someday We"ll All Be Free" and then the first of his disarmingly addictive originals, "The Blues Still Blossoms" in addition to many others.

Originally released in 2013, now re-issued on their own Extreme Eating imprint. FROM THE 2013 PRESS RELEASE - Sleaford Mods started out sometime during 2006 whilst Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he that he met Andrew Fearn and the Sleaford Mods became a duo. The rest, as they say… “

Our first vinyl release of 2023 sees two classic tracks from Groove Park take centre stage. Hit The Bang and Carrousel first came to the fore in 1995 as separate releases and, after a few solid remixes, our Bonzai Classics imprint resurrected both tracks along with top-notch remixes in 2002. 21 years later we bring to you the original versions of both tracks on glorious 12” vinyl. André Strässer and Sharam Jey aka Sharam Nickjey Khososi make up the dynamic duo that is Groove Park. They were also the brains behind massive projects such as 16C+, Three n One and Johnny Shaker to name just a few. The tracks found a unique place in clubland, having a diverse structure that spanned genres flawlessly. The A side features Hit The Bang with its hybrid progressive/techno flow. The relentless bass groove, distinct voices and stabbing synths gave rise to a powerful, energetic and mesmerizing moment that lives on. On the flip, Carrousel takes up the B1 slot opening with that infectious woodblock sequence alongside pumping kick drums. A groovy bassline joins the party as old skool pianos come through. The track reels us in with many twists and turns, from wide, epic progressive parts to energetic trance, all wrapped up in a warm, nostalgic glow. A proper piece of dance music history and a must for the serious collector.

KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!