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From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.

Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.

'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.

Originally released as an obscure private-press LP by the Florida trio of Ben Champion, Ken Burkhart and Danny Burger.

Special guest on this super rare funky jazz outing is Mike Longo who says a few words on behalf of the group on the back cover, and sure enough he contributes scorching Rhodes in the style of his early 70s Greasy Groove sides for Groove Merchant and Mainstream. Also on board are Kelton Champion on guitar, Gary Champion on Bass, Mickey McGann on keys and David Winters on Congas and Percussion: (Just what we love to see on these kind of grooves. Added Phat Funkiness!)

The 20 minute title number weaves, bobs, and scorches with a sound that has been described as a "Headhunters Headspace" the groove never dropping for an instant with a Fender Rhodes meets Hammond B3 Prestige Style Scene with an added flavouring of some chunky Moog Synthesizer.

This has gotten a lot of chatter on the underground Jazz Vibes lately, copies changing hands for $300 and more. The track "These Are My Friends " regularly sells for upwards of $500 and is one of the most hard to find singles on the Rare Soul circuit.

The band are from South Florida, a well known melting pot of culture and music.This area has produced an impressive number of Super Star Jazz Musicians.

Among them Cannonball Adderly, Blue Mitchell, Jaco Pastorius, and Mike Longo and a multitude of others.

Jazzberry Patch can now be added to that roster with this fantastic re-issue from Jazz Room Records.

Vocalists/multi-instrumentalists Claus Lessmann and Michael Voss, who also produces acts such as Michael Schenker: a combination that makes rock fans sit up immediately. Considering the two’s various collaborations - lately as members of PHANTOM V - spread over several decades, »Rock Is Our Religion« is way more than a debut. The album, which was recorded and produced by Voss at German Kidwood Studios Münstertal and Kidroom Studios Greven (only Vincent Golly’s drums were tracked by Mathi Brandstetter at Home Studios Hamburg, Germany), rather is a relevation, a bow down to genuine rock packed in 49 minutes of handmade music performed to the point. Lessmann and Voss complement each other over these 12 tracks as if they hadn’t done anything else before: from mysteriously starting opener 'Medicine Man' to lead single 'Smoke Without A Fire', the recording of 'Take My Heart And Run', circling back to one of their earlier songwriting cooperations in the '90s, and the duo’s interpretation of AMERICA’s 1975 hit song 'Sister Golden Hair' (feat. Kenny Lessmann on drums and Martin Huch on pedal steel guitar), this album impressively shows that it still doesn’t need many frills to create impactful heavy music nowadays. Amen!

ODESZA veröffentlichen ihr viertes Album auf Ninja Tune inklusive Features von The Knocks, Bettye LaVette, Låpsley, Izzy Bizu, MARO, Ólafur Arnalds, Julianna Barwick & Charlie Houston.

ODESZA veröffentlichen ihr viertes Album ’The Last Goodbye’ auf Foreign Family Collective/ Ninja Tune. Es ist das bisher ambitionierteste & emotional mitreißendste Album des Grammy nominierten Duos. Ein Projekt voller Glanz und Emotionen, nostalgisch und doch in der Gegenwart verwurzelt, ist es ein mitreißendes Klangerlebnis, das Themen wie Verbindung, Erinnerungen und den Einfluss, den wir aufeinander ausüben, anspricht. Es ist eine lebhafte Feier der Menschen und Momente, die unsere Fingerabdrücke hinterlassen haben und die in der gesamten Platte widerhallen. Es ist das bisher persönlichste Album des Duos und eine brillante Sammlung, die Vergangenheit und Gegenwart auf euphorische Weise miteinander verwebt. Neben The Knocks, Bettye LaVette und MARO werden auf „The Last Goodbye“ auch Julianna Barwick, Låpsley, Ólafur Arnalds, Izzy Bizu und Charlie Houston zu hören sein. Das Produzentenduo ODESZA besteht aus Harrison Mills und Clayton Knight, die zusammen Musik zu machen begannen, nachdem sie sich an der Universität in Washington, USA, kennengelernt hatten. 2012 veröffentlichten sie ihr von der Kritik gefeiertes Debütalbum „Summer's Gone“, gefolgt von der 2014 mit Gold ausgezeichneten Platte, „In Return“, die an der Spitze der Billboard Dance-/ Electronic-Charts debütierte und die Platin-Single „Say My Name“ enthielt - ein Remix des Tracks von RAC wurde später für einen GRAMMY 2016 nominiert. Ihr drittes Album, „A Moment Apart“, wurde 2017 veröffentlicht, ebenfalls mit Gold zertifiziert und brachte ihnen zwei GRAMMY-Nominierungen für das beste Dance-/ Electronic-Album und die beste Dance-Aufnahme für die Gold-Single „Line Of Sight“ ein. Das Album erreichte Platz 2 in den UK-Dance-Album-Top 40 Charts und Platz 2 in den iTunes-Electronic-Charts im Vereinigten Königreich und debütierte auf Platz 3 der Billboard Top 200 in den USA.

One of the most active bebop trumpeters, Kenny Dorham started in the big bands of Mercer, Ellington, Lionel Hampton, Billy Eckstine and Dizzy Gillespie and eventually landed in the Charlie Parker Quintet. In addition, he was a charter member of Art Blakey’s Jazz Messengers, recorded as a sideman with Thelonious Monk and Sonny Rollins and replaced Clifford Brown in the Max Roach Quintet. Throughout his career he can be heard playing trumpet on various recordings with Lou Donaldson, Sonny Stitt, Fats Navarro, Kenny Clarke, Mary Lou Williams and many more musical legends.

“Quiet Kenny” is a jazz masterpiece. Recorded by the great Rudy Van Gelder with a group of musicians playing at the top of their game, this title continues to be one of the most collectible Jazz LPs due to its high demand and short supply.


PLAYERS:

Kenny Dorham, trumpet
Tommy Flanagan, piano
Paul Chambers, bass
Art Taylor, drums

Great compilation of soul tracks that have been sampled by artists such as Massive Attack, Kendrick Lamar, Cypress Hill, and others.



















s D2. Marva Whitney - It's My Thing (You Can't Tell Me Who To Sock It To) [Album Version]

• Sony Music Masterworks and Milan Records announce the vinyl release of “My Hero Academia: World Heroes' Mission” with music by composer and arranger YUKI HAYASHI. The film adaptions are based on the original Comic Series “My Hero Academia”, which sold over 50 million copies worldwide.

• Based on Kōhei Horikoshi’s most successful manga series, ‘My Hero Academia: World Heroes’ Mission’ is an action-adventure film directed by Kenji Nagasaki. When a sinister organization threatens to wipe out all superhuman powers, the fate of the world is on the line. But before they can succeed in putting their evil plans into action, the Pro-heroes around the world assemble to come up with a counter plan to stop the worst from happening.

• The soundtrack of the critically acclaimed, hugely popular film adaptation is now being released as a stunning double coloured vinyl with a double gatefold.


• My Hero Academia: World Heroes’ Mission is the third movie, following the success of My Hero Academia: Two Heroes and My Hero Academia: Heroes Rising (75M streams to date), and marking a major shift in the series' story - putting Deku in a precarious position of being painted as a villain.


• Besides the movie adaptations, the comic was adapted into an anime series. The 5th season of the series is currently on air. You can watch it on Funimation and Crunchyroll in the UK and you can find “My Hero Academia Season 1” on Netflix.
About the composer Yuki Hayashi:
• Yuki Hayashi was born in Kyoto, Japan in 1980. Being an active member in a men's rhythmic gymnastics team in his early years spawned his interest in BGM while selecting songs to complement performances. This led him to begin teaching himself music composition while at university, despite not having a background in music itself. After graduating, Yuki acquired the basics of track making under house techno DJ and sound-maker Hideo Kobayashi and started producing his first range of music accompaniments for dance sports. His experience as a rhythmic gymnast has enabled Yuki to intuitively incorporate an eclectic range of music and produce a unique sound, empowering scenes from TV drama, animation and film.

Der gefeierte Singer-Songwriter und Produzent Jaymes Young brachte vor kurzem eine Deluxe-Version seines 2017 erschienenen Debüt-Ablums "Feel Something" heraus und legt jetzt noch einmal mit einer Vinyl-Version der original Ausführung nach.

Youngs außergewöhnliches Debütalbum "Feel Something", welches er in seinem Schlafzimmer schrieb, produzierte und aufnahm, schlug bei seiner Veröffentlichung schnell einen intensiven und intimen Nerv
bei den Hörern. Nach seinen bahnbrechenden EPs "Dark Star" und "Habits of My Heart" wurde das Album weltweit über 1,6 Milliarden Mal gestreamt.

Mit Streaming-Hits wie der RIAA-Gold-zertifizierten Single "I'll Be Good" und "We Won't (Ft. Phoebe Ryan)" wurde "Feel Something" von Publikationen wie TIME, Billboard, NYLON und Rolling Stone gelobt, die Young zu einem "Künstler, den man kennen muss" erklärten und seine "große musikalische Bandbreite" lobten. Der kreative und überzeugende Live-Musiker tourte nicht nur mit Künstlern wie Oh Wonder, Vance Joy und London Grammar,
sondern verkaufte auch seine allererste nordamerikanische Feel Something Tour aus.

Das klangliche Spektrum des zweiten Albums Why You Lacking Energy?, vereint alles von ausladenden Klavierballaden bis hin zu massiven Synthie-Hymnen. Von der Band komplett selbst produziert, macht das Zweitwerk tatsächlich das gesamte Spannungsfeld greifbar, das den Sound von Cassia auszeichnet: Es sind Songs, die zwar einerseits ganz klar im Hier und Jetzt verortet sind, die das Leben im Augenblick einfangen - und doch fließen immer wieder auch Gedanken an Zurückliegendes und Zukunftsängste ein in ihre Kompositionen.

Cassia - Rob Ellis (Gesang/Gitarre), Lou Cotterill (Bass) und Jake Leff (Schlagzeug) - kreieren kathartische Indie-Klangwelten, in denen sie all ihre Emotionen ausbreiten, ohne dabei die Kontrolle zu verlieren.
"Tatsächlich lernen wir uns erst durch das Schreiben der Songs richtig kennen", meint Lou, "denn in unseren Texten steckt wirklich alles drin." Schon mit der Veröffentlichung ihres Debütalbums Replica (2019) avancierte die UK-Band zum Main Stage-Act bei den größten britischen Festivals und sicherte sich auch eine gefeierte Live-Session in den Maida Vale Studios von BBC Radio 1. Während inzwischen auch Clara Amfo,

Annie Mac und Jack Saunders zu ihren Fans zählen (siehe Zitate unten), bekamen sie von BBC Radio 1 bereits zwei Mal das "Hottest Record"-Qualitätssiegel verliehen. Nachdem ihre gefeierten Live-Shows Cassia auch eine Nominierung bei den AIM Awards und einen
Stammplatz auf den jüngsten "Ones to Watch"-Listen zum
Jahreswechsel gesichert hat, dürfen sich die Fans nach
den April-Shows auf weitere Deutschland-Dates im
September freuen

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
Tenor saxophonist John Coltrane's 1957 studio session in Hackensack, New
Jersey produced all the material for the legendary album, Blue Train. The album
marked the first time that Trane was given the opportunity to select his own
sidemen for a date. He made effective use of his newfound freedom, enlisting the
support of trumpeter Lee Morgan, trombonist Curtis Fuller, pianist Kenny Drew,
bassist Paul Chambers and drummer Philly Joe Jones. When asked in a 1960
radio interview which was his favourite of all the albums he recorded up to that
point, Coltrane was quick to reply, Blue Train.

Strangeland is Keane's fourth studio album, original released in May
2012, and is being re-issued on vinyl for its 10th anniversary year
Produced by Dan Grech-Marguerat the album includes three singles: Silenced By
The Night, Disconnected and Sovereign Light Café.
The album charted at #1 in the UK and has gone on to sell over 200k. It also
charted at #1 in Ireland and the Netherlands whilst in the US it peaked at #17.
This re- issue is pressed on 180gm vinyl and faithfully reproduces the original's
gatefold sleeve and full colour inner bag with lyrics.
This re-issue will be promoted on all of Keane's socials. Tour dates: 10 Jun 2022
Westonbirt Arboretum, Gloucestershire, UK/ 11 Jun 2022 Cannock Chase Forest,
Staffordshire, UK/ 12 Jun 2022 Live In The Wyldes, Cornwall, UK/ 17 Jun 2022
Thetford Forest, Suffolk, UK/ 18 Jun 2022 Delamere Forest, Cheshire, UK/ 19 Jun
2022 Hop Farm, Kent, UK/ 30 Jun 2022 Summer Series Trinity College, Dublin, IE/
03 Jul 2022 Rock Werchter Festival, Werchter, BE/ 08 Jul 2022 Mouth of the Tyne
Festival, Tynemouth, UK/

Gondwana Records announces Horizons the debut album from Jasmine Myra, produced by Matthew Halsall, it's an elevating debut record of understated beauty.
Jasmine Myra is a Leeds-based saxophonist, composer and band leader Her original instrumental music has a euphoric and uplifting sound, influenced by artists as diverse as Kenny Wheeler, Bonobo and Olafur Arnalds and like Mammal Hands and Hania Rani her music has a special, emotive quality that draws the listener into her world.

GONDLP052 - Jamie Cullum on BBC Radio 2 "...That's Jasmine Myra and 'New Beginnings', wonderful to hear new music from a new artists I’ve not heard before, a great new artist!"

Tom Ravenscroft on BBC 6 Music "Leeds-based saxophonist, composer and band leader Jasmine Myra. 'New Beginnings' on Gondwana Records. Compositions drawing influence by Kenny Wheeler, Bonobo, Ólafur Arnalds. Produced by Matthew Halsall"

The Ebonettes were a female group Dave Hamilton cut on ‘Side By Side’ aka ‘Just A Mistake’ as issued by the Barrino Brothers on TCB in 1969. The song has a funky mid-tempo groove and is very in-demand. This is the first time on vinyl for this femme version which has been championed by DJ Snowboy over the years. The flip is the popular Northern Soul number ‘Lean Lanky Daddy’ sung by Little Ann about Dave and only previously available on a deleted Kent Select single.

Motorik, Techno, Lo-fi, Primal and monotonous are words to describe Black Bones unique take on afro and post punk. This 7” is their first on Höga Nord Rekords and contains two tracks showing depth in musical creativity and record collections.

Black Bones use familiar components in surprising ways: electronics and loops swirl over sequenced pounding backbeats, but when the aggressive stereo bass kicks in on “Nairobi Night Train”, Kenya’s border stretches all the way up to the British Isles and a huge savannah opens its horizons just south of Belfast.

This is an unusual mix of European and African music tradition - a meeting of genres so seamless it’s hard labelling it crossover. It’s just an explosive potion mixed for dancing!

This compilation collects a number of 7" singles produced by Audio Productions Ltd. in Kenya's capital Nairobi in the first half of the 1980s and released on the Wendo, Lulus, Mlima and APL imprints. The bands featured on this release are the New Gatanga Boys, Ruwengo Bros Band, Banana Hill Band and Les Victoria 'C' Kings from Kenya, Les Moto Moto and Orch Les Volcano from Tanzania (the latter being led here by Charles Ray Kasembe after the death of the legendary Mbaraka Mwinshehe). The closing track is by Orch Zaituken Band, whose name is a contraction of the countries its members came from: Zaire (now Democratic Republic of the Congo), Tanzania, Uganda and Kenya. The group is emblematic of the Kenyan capital's role as a magnet for East African musicians seeking to earn a living by recording and playing live in the 1970s and 1980s.

No Wahala Sounds are proud to bring you this latest collection of rare 45s from the golden era of benga and rumba, which have never been released outside Kenya before.

Stevie Ray Vaughan's 1983 debut album, Texas Flood, was a phenomenal success, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. The record plays like a dynamite club show, filled with crowd-pleasing originals and covers, all performed with unbridled enthusiasm. Texas Flood was certified gold on August 13, 1990, and certified platinum on January 22, 1992.

With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.

Quarto Valley Records proudly announces the release of 'Brother Johnny', a
tribute to the legendary blues guitarist created by his brother Edgar Winter.
The album is a powerful sonic journey, traveling the course of Johnny's musical
life, impeccably directed, as only his brother Edgar could. Joining Edgar on the
inclusive project is an impressive array of renowned musicians who knew, or were
inspired by Johnny, including: Joe Bonamassa, Doyle Bramhall II, John McFee,
Robben Ford, Billy Gibbons, David Grissom, Taylor Hawkins, Warren Haynes, Steve
Lukather, Michael McDonald, Keb Mo, Doug Rappoport, Bobby Rush, Kenny
Wayne Shepherd, Ringo Starr, Derek Trucks, Waddy Wachtel, Joe Walsh, Phil X
and Gregg Bissonette. The guitar- driven album celebrates the expansive styles
Johnny was known for. The 17 tracks were carefully curated by Edgar and
producer Ross Hogarth to represent Johnny's evolution as an artist, honoring his
great legacy while also incorporating a personal tribute from brother to brother,
and for which Edgar penned two new songs.
Print coverage:
the Telegraph, The Daily Mirror and The Scottish Daily Express
Mojo feature and Review, Classic Rock Magazine, Record Collector, Blues In
Britian, HRH Magazine, RNR, Vintage Guitar, Rock Candy, Fireworks
Review in Blues Matters confirmed, Guitar Techniques
Online coverage: Velvet Thunder, Pennyblack Music, Spiral Earth
Radio:BBC Radio Solent, BBC West Midlands, Total Rock Radio, Forest FM, Castle
Sound Radio, 242 Radio, Brooklands Radio, Hard Rock Hell, Mystery Train,
Graham Lavendar Blues Show
Podcasts: Blues In The Night, The Blues Podcast

Kennedy again uses the power of machines to translate his late-night dreams and spaced-out thoughts into two tracks of borderless hi tech soul music. This second musical manifestation of dreams is the newest in a unique series of thoughts, sensations and sounds occurring from a person's mind, translated by machines.

These are sounds that are always playing somewhere in your deepest subconscious mind. They're like a portal into another dimension where predictable arrangements do not exist. Chords seep and bleed into one another. Melodies drop from above like the liquid colours of an acid trip. They have blurred edges. The cloudy focus of each track means you sink in deep and latch on to an astral synth line that takes you higher, or find yourself gazing in wonder at the sci-fi bleeps that gently drift by.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

From a previous album dedicated exclusively to Soul music by the Roman producer Nerio Papik Poggi, this new project in the artistic name 'The Soultrend Orchestra' was born in 2017. The album titlereleased that year, '84 King Street', definied the musical genre to which it is dedicated. In fact, the address is that of the legendary New York club Paradise Garage from where Disco music in the late 70s was definitively launched all over the world by deejays David Mancuso and Larry Levan in the first place. So Soul and Disco are the predominance of this first album which has had great success in the sector so much so that the band has performed live in important European festivals.

This new album entitled Live For Funk starts from where the first left us musically to enter much more on the Funk sound, especially the English one of the early 80s and the American one linked to jazz musicians such as Donald Byrd or Roy Ayers who have been re-evaluated so much in the years starting from the Acid Jazz scene from the 90s onwards.

15 songs in total, including three covers, all three already released as digital singles. The three covers are remakes of cult songs from past
years in the Disco Funk world and exactly Get Down Saturday Night by Oliver Cheatham, Outstanding by the Gap Band and Act Like You
Know by the Fat Larry's Band. In the project Nerio Poggi brought with him his historical musicians such as Alfredo Bochicchio on guitars, Peter De Girolamo on keyboards, Massimo Guerra on trumpet, Fabio Tullio on sax, Simone 'Federicuccio' Talone on percussion and Luca Trolli on drums. In addition to a dozen other guest musicians also 8 different singers among which the names of Alan Scaffardi, Al Castellana, Kenneth Bailey and Danny Losito of Kaigo stand out

Two years after his Debut EP Bloodline OTN 01, Umo returns to OpenTheNext with another 5 #neodancefloor killer tracks.

The sound of Umo is the result of almost two decades of studying frequencies, vibrations, sequences of movements, plants and ascetic substances, seeking to recover the Music & Dance´s sacred and transcendental vision to ascend and sustain higher states of consciousness.

His new EP is a slow motion rework of the Raves in the 90s´ original sounds & vibrations. Traveling to a time when the dancefloors were true places of healing , authentic liturgies where people danced in community for days with eyes closed – before the internet, smartphones and globalization would corrupt everything.

#slowravers is a sonic journey that encourages conscious breathing and movement, and allows you to empty, dilute and connect in perfect resonance with the void that binds everything together.

It's hard to believe it's taken this long for a proper retrospective of legendary Los Angeles collective CVE. "We Represent Billions" is a crucial portrait of one of the West Coast's most low-key influential crews - a hydra-like collective of rappers, producers, designers and engineers who were key members of the Good Life Cafe's open mic scene, going on to inspire artists like Jurassic 5, Kendrick Lamar amongst many other. Initially called Chillin Villain Posse before morphing into Chillin Villain Empire in the late 1980s, they eventually centered around the core trio of Riddlore, NgaFsh and Tray-Loc. The crew were years ahead of their time, self-producing music without samples and pioneering a stream of consciousness lyrics that still sound fresh and innovative. CVE were self-sufficient and motivated from the beginning, named "Chillin Villains" because that's how they were perceived by white America. This social motivation was channeled into their groundbreaking performances at Good Life Cafe, the South Central session that evolved into Project Blowed and later on came to influence LA club night 'Low End Theory'. It was chronicled by Ava Duvernay, herself an MC in short-lived duo Figures of Speech, in her "This is the Life" documentary, where she interviewed CVE alongside Jurassic 5, Freestyle Fellowship, Abstract Rude and Busdriver. On "We Represent Billions", we're treated to a snapshot of the CVE sound from 1993-2003, their most prolific era. The retrospective collects music from the handful of albums the crew released on their own Afterlife Recordz label (mostly as limited edition CD-R's) plus many previously unreleased tracks and highlights their untethered eccentric creativity and sheer breadth of influence. Whether twisting twitchy West Coast electro on 'All Over Da Globe' or free associating over horror synths and foley sounds on 'Made in Chillz Ville' there's a sense that their music was just too future for its time. Assembled from heaving industrial samples and graced by back-and-forth tongue twisting flows, 'Thugs and Clips' is as eerie and hard-hitting as anything 2Pac's "The Don Killuminati: The 7 Day Theory" full-length. Fuzzed-out and unsettling, 'Calistylics' welds an ambient synth loop and bone-rattling percussion to Tricky-esque percussion, while the flickering closer 'Unicycle' is a cross between Dr. Dre's icy G-gunk pressure and Three 6 Mafia's pitch black lo-fi funk. In many ways, 2022 is the perfect time to rediscover this music: an urgent, creative fusion of spine-tingling pre-grime electronic minimalism and mind bending wordplay that still sounds completely idiosyncratic and utterly alien. Tracks: 1 All Over Da Globe 2 Thugs and Clips 3 C.V. Vault 4 Made in Chillz Ville 5 Bring It On 6 Calistylics 7 No Feelins 8 Let's Get It On 9 Today Was A Fucked Up Day 10 Untitled (Freestyle) 11 Unicycle

It's hard to believe it's taken this long for a proper retrospective of legendary Los Angeles collective CVE. "We Represent Billions" is a crucial portrait of one of the West Coast's most low-key influential crews - a hydra-like collective of rappers, producers, designers and engineers who were key members of the Good Life Cafe's open mic scene, going on to inspire artists like Jurassic 5, Kendrick Lamar amongst many other. Initially called Chillin Villain Posse before morphing into Chillin Villain Empire in the late 1980s, they eventually centered around the core trio of Riddlore, NgaFsh and Tray-Loc. The crew were years ahead of their time, self-producing music without samples and pioneering a stream of consciousness lyrics that still sound fresh and innovative. CVE were self-sufficient and motivated from the beginning, named "Chillin Villains" because that's how they were perceived by white America. This social motivation was channeled into their groundbreaking performances at Good Life Cafe, the South Central session that evolved into Project Blowed and later on came to influence LA club night 'Low End Theory'. It was chronicled by Ava Duvernay, herself an MC in short-lived duo Figures of Speech, in her "This is the Life" documentary, where she interviewed CVE alongside Jurassic 5, Freestyle Fellowship, Abstract Rude and Busdriver. On "We Represent Billions", we're treated to a snapshot of the CVE sound from 1993-2003, their most prolific era. The retrospective collects music from the handful of albums the crew released on their own Afterlife Recordz label (mostly as limited edition CD-R's) plus many previously unreleased tracks and highlights their untethered eccentric creativity and sheer breadth of influence. Whether twisting twitchy West Coast electro on 'All Over Da Globe' or free associating over horror synths and foley sounds on 'Made in Chillz Ville' there's a sense that their music was just too future for its time. Assembled from heaving industrial samples and graced by back-and-forth tongue twisting flows, 'Thugs and Clips' is as eerie and hard-hitting as anything 2Pac's "The Don Killuminati: The 7 Day Theory" full-length. Fuzzed-out and unsettling, 'Calistylics' welds an ambient synth loop and bone-rattling percussion to Tricky-esque percussion, while the flickering closer 'Unicycle' is a cross between Dr. Dre's icy G-gunk pressure and Three 6 Mafia's pitch black lo-fi funk. In many ways, 2022 is the perfect time to rediscover this music: an urgent, creative fusion of spine-tingling pre-grime electronic minimalism and mind bending wordplay that still sounds completely idiosyncratic and utterly alien. Tracks: 1 All Over Da Globe 2 Thugs and Clips 3 C.V. Vault 4 Made in Chillz Ville 5 Bring It On 6 Calistylics 7 No Feelins 8 Let's Get It On 9 Today Was A Fucked Up Day 10 Untitled (Freestyle) 11 Unicycle

A collection of brilliant modern electronica scores inspired by the Bedfordshire countryside by Jodey Kendrick. Some of the historical landmarks in this historic UK midlands county, several dating back from before the 9th century, are the sceneries for this collection of eerie soundscapes punctuated by clangy metallic beats and brutal bass. Alienating old landscapes clashing with rapidly changing modern technologies is the playground for Jodey Kendrick's musical adventures.

Echoes of this summer's 'Shango' still shimmer through systems as Detroit's Waajeed continues to make good on his promise: to 'put paint where it ain't.'

After years of soul, funk and hip-hop explorations as a founding member of the Platinum Pied Pipers (among many other innovative escapades) and, most recently, a soulful remix of Amp Fiddler on Kenny Dixon's Mahogany Music, Waajeed is building on the fresh line of house grooves he commenced this summer. His first pedigree dancefloor tracks in almost 20 years, he taps directly into the source and builds with his own soulful bricks. It's working, too; DJ-wise he's playing alongside Moodyman, Mr. Scruff and Carl Craig this fall, while 'Shango' has enjoyed heavyweight support by The Black Madonna, Carl Craig, Jackmaster, Gilles Peterson and many notable selectors.