New school techno star Lee Ann Roberts continues to light up 2021 with another brand new single on her own NowNow Records. Her standout original is backed by remixes from MRD and D.A.V.E. The Drummer.
This year already belongs to South African-born, Amsterdam-based Lee Ann Roberts. Her new label has had high-profile support from tastemakers like Charlotte de Witte & Ken Ishii, and is already well known for its off-grid techno sounds. Roberts herself debuted only last year on Suara. She immediately hit the number 2 spot on the Beatport Hard Techno chart and followed up with more on Octopus Warehouse Series. She has played festivals like Caprices this year and is lined up for BPM as well as plenty more headline gigs.
The excellent 'Feel' is a nine-minute, hard-edged roller. The drums are flat-footed and unrelenting, the synths bring turbulence and dark vocals add dystopian unease. The edgy textures and caustic pads make for a visceral groove that is perfectly designed for shadowy warehouse spaces. An Acid Trip Mix sees the track erupt on wild acid lines that spray about the mix and cannot fail to blow up the dance floor.
Remixer MRD hails from Norway and has released plenty of EPs and an album in a short space of time. He has a ferocious sound that fuses new wave, hardcore and banging techno as evidenced here. His version is break-neck techno with trance pads lighting up the airwaves in euphoric fashion.
The second remixer is the legendary London techno titan and label boss D.A.V.E. The Drummer. He heads up Hydraulix Records and Apex Recordings and always brings the fire. His take on 'Feel' is a wall-rattling banger with oversized bass. Saw-tooth synths rip up the track while the stark, strobe-lit stabs and some buried vocals make the floor sweat.
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
While the world continues to be in a bizarre mixture of feelings and circumstances, we can thankfully still hark back to last fall when the sophomore LP from the elusive and innovative KAMM band, Cookie Policies gave us an opportunity to reflect on the past while fully looking toward the future.
The album presented a beautifully unique blend of listening-oriented music styles, combining the early roots of the four producers and their pre-DJ formative musical travels. It is now our great pleasure to introduce an EP set of specifically dance floor-focussed remixes that take the diverse textural arrangements and expansive sonic bliss of the LP and stretch it around some solid percussive membranes, sure to excite many DJs and dancers out there in the wild as things begin to reopen.
KAMM band members Dave Aju, Alland Byallo, Kenneth Scott, each chose one original album track to rework with a more propulsive feel and from Aju's psychedelic West Coast breaks rendition of the noir-esque "CCBPGC", to Byallo's high vibe leveled-up flight of "Bird Call", or Scott's bold section-by-section recreation of the sprawling "The Soft Glow Of Electric Sex" laser-designed for heads-down late night club sessions, the boys came through to say the least. The real A1 treat of this reinterpretation package however comes from unanimous artist choice and label favorite I:Cube, whose majestic take on "Shleem" sees the veteran producer and master remixer move the bubbling ambient piece into bumping and rich space-age deep house territory, equal parts angelically uplifting and pure 5am club-belter/mind-melter.
out of Stock
Last delivered 5 years ago available to reorder, subject to availability
Spirits Having Fun records are ones made from and for shows and spaces—arrangements rooted in a deeply collaborative process, that come to life through intuitive and locked-in live improvisation. Following their 2019 debut Auto-Portrait, Two finds the New York and Chicago based four-piece continuing to challenge ideas of what a rock band can be, pulling apart their musical experiences and reimagining them as kinetic compositions, equally studied but palpably organic.
Two is constructed around gut feelings and strong grooves, elastic rhythms and playful pacing. Its twelve songs expand, contract, and make sharp turns between melodies under singer-guitarist Katie McShane’s meditative lyrics. “Broken Cloud,” which was also released last year on a compilation in support of Chicago Community Jail Support, offers a glimpse into her reflections on the natural world: "A city grew out of the ground / to a mountain it's only a blur."
True to its name, the internal logic of the band is also just a lot of fun, built on trust and deep-rooted musical relationships. Before there was Spirits Having Fun, McShane, bassist Jesse Heasly, guitarist-vocalist Andrew Clinkman, and drummer Phil Sudderberg had performed together in various arrangements over the years. McShane, Heasly and Clinkman met in a specific corner of the Boston underground in 2013, a time when a scene had coalesced around students from local music conservatories frequently collaborating with punk bands and noise artists, exchanging ideas and warping musical worldviews. Heasly and Clinkman played together in Cowboy Band, making mutant, free jazz-inspired takes on old country tunes. When Clinkman moved to Chicago, Heasly and McShane played in experimental groups like EKP and Listening Woman; in Chicago, Clinkman met Sudderberg playing in projects like jazz scene fixture Ken Vandermark’s high-powered band Marker.
Spirits first came together as an attempt at a long-distance collaboration among friends in 2016, driven by the simple feeling of missing each other; they’d meet up for marathon weekends here and there to practice, playing small loops through dive bars and art spaces around the Midwest—just enough for McShane and Heasly to afford plane tickets back home. Being split between Chicago and New York forced the project into a deliberate pace. “We tried to take it slow and let it be what it was,” said McShane. That sense of patience unexpectedly prepared them for March of 2020, when their planned tours and the release of Two were indefinitely delayed.
Two was mostly recorded in the summer of 2019 with the help of omnipresent Chicago engineer Dave Vettraino and DPCD’s Alec Watson, whose contributions on organ, synths, and piano are laced throughout the record. The album reflects a synthesis of solitary and communal songwriting processes—each song drawing on fragments written by individuals, which McShane threaded together and shaped through her distinct compositional lens, making the songs whole before returning to them to the band to mature collectively. When composing, McShane writes first on the keyboard before adapting parts for guitars played by herself and Clinkman. Their dueling approaches to guitar are complementary: McShane, being a newer guitarist, brings a freshness to the project (“I'm just discovering the whole time,” she says) while Clinkman has been playing since childhood.
“There's a lot more collaboration on this record,” says Clinkman, “in terms of all of us letting stuff bloom a little bit more.” The record’s first single, “Hold The Phone” is a good example of this process—it started with a playful intro riff from Clinkman, a melody and bridge added by McShane, a wobbly outro groove added by Heasly, which Sudderberg brought to life. Another single, the dynamic “See a Sky,” written primarily by Heasly, underscores the rhythm section chemistry at play across the record, the song ebbing and flowing around Heasly and Sudderberg’s eclectic percussive palettes.
“Entropy Transfer Partners” is the only song on the record with lyrics by Clinkman, and the album’s most politically direct—a call for solidarity in the face of systemic failures, an acknowledgment of the shared material devastation caused by our country’s ongoing healthcare and housing crises: “These are not things we're experiencing individually. We struggle through them collectively. And we could actually declare, all of us, that it doesn't have to be this way, and fight and organize to ameliorate some of those conditions.” (“We won't work to create the shit you monetize, to run our lives,” they sing.)
From front to back, Two is an absorbing listen simply for its impressive range. But as the members explain themselves, the complexity of the record is about more than its intricate riffs, or how often they count out an odd time signature, but how they reject the notion of boxing the songs in, letting the melodies take on lives of their own. “Making music that feels alive is important to us,” says Clinkman. “Music feels most powerful to me when it deepens our sensation of feeling alive and connected to other humans. It’s so easy to feel worn down and isolated; that your life’s value is fixed to your productivity at your job, or the things that you have or don’t have. Making music that feels joyful and fun seems like one effective antidote to that feeling.”
‘K Bay’, out on Domino Recordings, is the first new solo
material from Matthew E. White in six years.
Matthew E. White describes the album as a “love affair
with music.” It’s a record thrillingly engaged with an
eclectic range of contemporary and 20th Century popular
music. The daring production mines and foregrounds longsimmering but previously veiled influences from the realms
of hip-hop, electronic pop and dancehall but all filtered
through White’s self-described outsider perspective.
‘K Bay’ is an homage to Kensington Bay, his home studio
where he records his personal projects and is his
sanctuary of creativity (White’s second studio,
Spacebomb, is where he works on collaborative projects
and has recorded and produced records by Foxygen,
Natalie Prass and Flo Morrissey).
More than love, romance, or self-reliance, this is the
animating ideal of ‘K Bay’ - that we can forever strive for
something better, no matter how flawed or blessed we
have already been. A decade ago, Matthew E. White made
a classic beauty no one expected; on ‘K Bay’, he has
made a masterpiece by harnessing what he’s learned from
that community and life itself in entirely unexpected,
electrifying, and reaffirming ways.
Laura Nyro's third Columbia effort is easily the equal of her previous two. The overwhelming strength of her song writing and distinctive arrangements fuel Christmas and the Beads of Sweat. Her unmistakable style of delivery maintains the continual examination of herself as a performer. The results are uniformly interesting and provocative as she continues to draw upon her love of jazz, folk, and R&B. Conceptually, this album is as potent as her previous effort, New York Tendaberry, but in a much different way. Rather than hanging together thematically, Christmas and the Beads of Sweat features two inclusive and distinctive sides of music -- with different musicians and producers for each. The first five tracks feature Nyro backed by the Swampers from Muscle Shoals, AL, and include the talents of Roger Hawkins (drums), Eddie Hinton (guitar), Dave Hood (bass), Barry Becket (vibraphone), and Jack Jennings (percussion), with Arif Mardin producing. While this pairing might seem initially incongruous, the quintet had been concurrently working with the likes of Dusty Springfield and Cher and had gained a rightful reputation as a consummate backup band. The final four pieces are steeped in noir more atypical of her previous efforts. The all-star cast of New York City session heavyweights are led by Felix Cavaliere (producer) and features fellow Rascals member Dino Danelli (drums), Ralph McDonald (percussion), Chuck Rainey (bass), Cornell Dupree (guitar), Duane Allman (guitar), and Alice Coltrane (stringed harp), among others. As with all of Nyro's recordings, at the heart of this effort are her ageless compositions and arrangements. A motif connecting such disparate tunes as the upbeat "When I Was a Freeport and You Were the Main Drag" to the hauntingly beautiful "Christmas in My Soul" and "Beads of Sweat" is the aching hollowness that came with the disillusionment that Vietnam, Kent State, and racial relations brought upon America in 1970. As she had done with "Save the Country" some four years earlier, Nyro's cathartic expressionism is captured at its most fervent on this album.
Following the critically acclaimed Vinyan cassette, Kāthā is Siamese Twins’ second curated pan-Asian compilation selected to form a continuous and coherent whole, whose strong transcendental ambience comes tinged with Eastern psychedelia. Kāthā is the Khmer and Thai name used for chanted sacred mantras and magical incantations that offer protection, charm, or certain influence in life. Its origins stem from "Gāthā", a Sanskrit term referring to any poetic metre commonly used in legends - verses recited (usually mentally) in rhythm with the breath as part of mindfulness practice or meditation. A hypnotic sound bath in which tribally-rooted ambient morphs into one entity. Drones, live instruments and esoteric textures are transformed into a contemporary Kāthā interpretation.
out of Stock
Last delivered 5 years ago available to reorder, subject to availability
Bunny Lee as producer. Prince Jammy as engineer. The Aggrovators making the tracks. A Holy Trinity of Jamaican Music. Throughout the years, recorded music has been shaped by some enduring partnerships between producer and engineer, such as Teo Macero and Fred Plautt for Miles Davis, Jerry Wexler and Tom Dowd for Atlantic Records, and George Martin and Geoff Emerick for the Beatles. But possibly none were as prolific as the collaboration between Bunny 'Striker' Lee and Prince Jammy at King Tubby's Studio between 1976 and 1982.
In 1977 and 1982 respectively, Conflict Dub and Dubbing In The Front Yard were released in London as white labels in extremely limited quantities. The two LPs found the triumvirate of Lee, Jammy and The Aggrovators on perfect form, with driving instrumentals, flashes of vocal beauty, and mixes that ripped apart and rebuilt traditional notions of sonic structure. Due to the nature of their limited release (not to mention the lack of artwork and even titles) the two dub LPs quickly disappeared into that mythic realm of records whispered about by only the most hard-core reggae collectors. This release is the first-ever reissue of these sought after LPs, and contains all the original songs in both vinyl form (double LP set with both albums on the original labels) and a lush double pack cd with 3 extra bonus tracks. The sleeve notes are by Diggory Kenrick with amazing photos by Howard Johnson, director of the influential Channel 4 documentary 'Deep Roots Music'.
The 3 CD bonus tracks are all remixes. Two from Paolo 'Dubfiles' Baldini for the Dubbing in the Front Yard set. One for Conflict Dub by Diggory Kenrick.
In 2018, Pressure Sounds celebrated its 100th album release since it's founding in 1995. In that time, the label has been responsible for unearthing and celebrating some of the rarest, most influential and unique Jamaican records ever cut.
out of Stock
Last delivered 5 years ago available to reorder, subject to availability
Pauline Oliveros' Tara's Room has long been a favorite in the Imprec office and it's a great honor to be able to release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of "Sounding / Way" with Guy Klucevsek which is also available on LP via Imprec.
"Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear Magazine
This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch.
Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.
"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell
"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage
Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint, further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.
Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.
- Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.
- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.
An invitation to multi-cultural musics reunited around the Carribean Islands. From Haïti to the Bahamas, passing by the French West Indies this journey explores traditional rythms from Soca, Calypso or Biguine. Musicians as Gordon Henderson, Max Cilla or the band Skah Shah knew how to use Soul, Funk and Disco influences to create a unique groove with multiple faces.
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
NIGHTMARE VACATION vinyl will be released on 27th August via Atlantic Records/Sugar Trap. The genre-defying album features 16 captivating tracks, each showcasing Rico’s out-of-this-world energy and rockstar delivery, complimented by production from the likes of CashMoneyAP, Buddah Bless, Dylan Brady (100 Gecs) and more.
“I feel like this album proved to me that no matter what I’m going through, I can still make powerful music. All of these songs that I ever made were always about power, always about making you feel powerful. Sometimes you give so much power you feel powerless…I just tried to put all the emotions, and the happiness, and the crazy feelings y’all make me feel in this music and give it right back to you to consume and get your power up. So this is a soundtrack to getting back on your shit!” – Rico Nasty
NIGHTMARE VACATION has already drawn early acclaim via a number of international and domestic press looks, ranging from NME, WAVE and CRACK to Rolling Stone, The New York Times, W Mag and more. The album – which includes features from such luminaries as Trippie Redd and Aminé and production also by Take A Daytrip (Lil Nas X, Sheck Wes, Kid Cudi), Avedon (Roddy Ricch, Chloe x Halle), GRAMMY® Award-nominee Tay Keith (Travis Scott, BlocBoy JB, Drake) and longtime collaborator Kenny Beats – is highlighted by the singles, “IPHONE,” “Own It,” “Don’t Like Me (Feat. Don Toliver & Gucci Mane),” and “OHFR?,”.
NIGHMARE VACTION further follows the release of ANGER MANAGEMENT, a collaborative project with longtime producer Kenny Beats which followed the duo’s work together on Rico’s breakthrough 2018 Atlantic Records/Sugar Trap label debut, NASTY.
The latest entry in the ongoing series of exciting collaborations sees the Turkish free form ensemble KONSTRUKT live on stage with THURSTON MOORE.
# 5 in the continuing series of KONSTRUKT collaborations on KARL is a live document of the concert by the Turkish freeform group with THURSTON MOORE. KONSTRUKT, the Istanbul based free jazz / freeform group founded and led by UMUT ÇAĞLAR and KORHAN FUTACI, are known for their openness to and interest in collaborations – and regularly meet up and perform with new partners that range from JOE McPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, ALEXANDER HAWKINS, KEN VANDERMARK or OTOMO YOSHIHIDE. This latest release sees the quartet join forces with one of the indie rock icons: THURSTON MOORE, who besides his decade-long main band SONIC YOUTH always found time and inspiration for solo projects and collaborations of different kinds.
"Turkish Belly", recorded live at SalonIKSV in Istanbul in february last year, is as adventurous and daring as one will expect from such a pairing and a highly rewarding experience for the fans of KONSTRUKT and those of MOORE alike.
[a] 01: Yapayalnız (Gezerler Sokaklarda) [Live] [feat. Thurston Moore]
[b] 02: Sis (Live) [feat. Thurston Moore]
[c] 03: Kurtadam, Pt. I (Live) [feat. Thurston Moore]
[d] 04: Kurtadam, Pt. II (Live) [feat. Thurston Moore]
[e] 05: Zor (Live) [feat. Thurston Moore]
[f] 06: Uğultular (Live) [feat. Thurston Moore]
The redoubtable renaissance man Barrie K Sharpe is back with a scorching vinyl 45 showing he’s lost none of his edge or ingenuity in producing a potent fusion of funk, soul jazz and beyond. This effusive cut sounds utterly unlike anybody else and is testament to his flamboyant superfly style cementing why he is considered to being one of the burgeoning spearheads in the Acid Jazz movement of yesteryear.
It’s interesting to note he hasn’t stood still either and has been extremely prolific releasing three exceptional albums under the banner of Rhythm Rhyme Revolution and this slow burning dance floor groove is the perfect distillation of his recent body of work.
‘BaDThingz’ falls between the sensual and the spiritual like all good dance music and the direct ‘come on’ lyrics becomes an injunction to move on the facts not just suppositions!
The groove is the epitome of seduction itself with a funkified blessedness as clear as a bell. A fantastic homily signalling the virtues of sexual chemistry whilst highlighting the modern era of cutting edge studio production to sonic perfection. The groove is simply total atomic explosiveness and DJ Tabu is someone you’d definitely want cooing in your ear!
Aided and abetted by multi instrumentalist Gareth Tasker and trumpeter Kenny Wellington it seems your man is riding his groove to glory - with a bit of added polish from Fritz Catlin. This is going to have untold longevity in any DJ’s trunk of funk. Grab it now for a shock of pure pleasure. (Emrys Baird – Blues & Soul)
out of Stock
Last delivered 5 years ago available to reorder, subject to availability
Type O Negative is an American goth-metal band formed in Brooklyn in 1989 by Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly. Slow, Deep and Hard is their debut studio album, released in 1991 on Roadrunner Records. The album, originally titled None More Negative and released in 1990 under the group’s former name Repulsion, launched the band’s career. The album has a rawness that was prominent in Peter Steele’s previous band, Carnivore, but it incorporates elements that became standard for Type O Negative, merging styles including doom metal, gothic rock, new wave and industrial music.
Slow, Deep and Hard is a semi-autobiographical album with heavy amounts of black humour, based on a failed relationship in which the vocalist/bass guitarist Peter Steele was involved. In keeping with the band’s notable humour, the album’s cover artwork is a blurred image of sexual penetration. According to guitarist Kenny Hickey, Steele based a riff of “Gravitational Constant: G = 6.67 x 10 – 8 cm – 3 gm – 1 sec – 2” (later known as “Gravity”) from the theme song of the 1964 American sitcom The Munsters. For the 30th anniversary of Slow, Deep and Hard, Roadrunner Records in conjunction with Run Out Groove, is reissuing the debut on vinyl in all it’s remastered glory.
Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas. Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs 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.
Standing in the Doorway: Chrissie Hynde sings Bob Dylan.
The songs were recorded in lockdown by Chrissie and her Pretenders bandmate James Walbourne, almost entirely by text message. James would record an initial idea on his phone and send it off to Chrissie to add her vocal, before the tracks were mixed by Tchad Blake (U2, Arctic Monkeys, Fiona Apple). The nine-track album will be released via BMG on 21st May.
Speaking about how the album came together and its inspiration, Chrissie says:
‘A few weeks into lockdown last year, James sent me the new Dylan track Murder Most Foul. Listening to that song completely changed everything for me. I was lifted out of this morose mood that I’d been in.
I remember where I was sitting the day that Kennedy was shot - every reference in the song. Whatever Bob does, he still manages somewhere in there to make you laugh because as much as anything, he’s a comedian. He’s always funny and always has something to say. That’s when I called James and said, ‘let’s do some Dylan covers’ and that’s what started this whole thing.’
Standing in the Doorway: Chrissie Hynde sings Bob Dylan includes Chrissie and James’ versions of In the Summertime, You’re a Big Girl Now, Standing in the Doorway, Don’t Fall Apart on Me Tonight and Tomorrow is a Long Time.
When Walter Smith III released his fourth solo album ‘Still Casual’ in 2014,
people listened, and the album was heralded as one of the top
releases of the year.
Now, fans of the saxophonist and composer can experience the tenorist’s wideranging release on vinyl for the first time on this special 2xLP, 180 gram limited
edition pressing with gatefold artwork.
Smith’s discography is pleasingly joined-up. As ‘In Common 2’ follows ‘In Common’, ‘Still Casual’ references his 2006 solo debut ‘Casually Introducing’. The
title might be another one of Smith’s trademark riffs, but the album is as committed to exploration as any other. Over the course of ten original tracks, Smith
covers a swathe of musical and emotional ground.
The players assembled for ‘Still Casual’ speak volumes for the quality of Smith’s
company. Trumpeter Ambrose Akinmusire joins Smith for explosive soloing on
‘Fing Fast’ and ‘Something New’. In Common co-convenor Matthew Stevens
provides reflective harmonic support and muted solo colours alongside the
understated backings of Taylor Eigsti. Together, Harish Raghavan and Kendrick
Scott provide moments of tension and intrigue from the backline, adding suitable punch to the opener ‘Foretold You’.
Chronologically, the album precedes the In Common projects, and comes right
as Smith hits his stride as a composer and arranger. From the elaborate (‘About
360’, ‘Processional’) to the personal (‘Greene’ is dedicated to saxophonist Jimmy Greene, whose daughter was killed in the Sandy Hook school shootings in
2012), Smith shines across fast-flowing vernacular and reflective, tender tones.
Still Casual showcases a group stretching themselves in a way that never seems
hurried, delving into a powerful collective energy to test their limits instead.
A special 12 inch release on Afternoon Delight Records to celebrate Frankie Knuckles Day featuring remixes of the Directors Cut and Kenny Summit track, Loving You featuring Yasmeen. The A side is taken by two Roberto Rodriguez reworks, the first a sun-drenched soulful remix and secondly a classic percapella. On the flip, Ian Pooley gives two deep, late night interpretations of the original.
out of Stock
Last delivered 12 months ago available to reorder, subject to availability
Mara TK, a golden voiced, Maori-Scottish world-wandering citizen of Aotearoa (New Zealand) announces his debut solo album 'Bad Meditation', released 7th May on Extra Soul Perception. Stepping out on his own, Mara TK is the former frontman of the acclaimed Kiwi future soul trio Electric Wire Hustle. Written and produced by Mara himself, 'Bad Meditation' is his 13 track opus, a deeply personal account of heritage, love, loss and healing.
An alumnus of Red Music Academy in Toronto, Mara TK's work beyond Electric Wire Hustle has seen him collaborate with critically lauded names including Om'Mas Keith of Sa-Ra Creative Partners, Detroit producer and J Dilla collaborator Waajeed, and Steve Spacek.
Extra Soul Perception is a collaboration and community music platform that started life between the UK, Kenya and Uganda but is now continuing to grow and connect independent musicians worldwide. Now with Mara TK added to the roster, Extra Soul Perception has released music by Lex Amor, K15, Maxwell Owin, Lynda Dawn, Hibotep, Karun, Labdi, Faizal Mostrixx and more.
*Nb: The solo version of 'Met At The River' is a digital exclusive only.
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
The Cold Stares will release their new album "Heavy Shoes" on August 13, 2021 via Mascot Records.
"Heavy Shoes" will be available on CD Digipack w/ 12 page booklet and 180 Grams Shiny Gold Vinyl w/ printed insert.
The great state of Kentucky is world renowned for many things. Bluegrass music? Of course. The smoothest, best-tasting Bourbon created by the hands of man? It doesn’t get any better. One thing that folks don’t always associate with Kentucky however is visceral, in-your-face rock and roll. The Cold Stares are determined to change that perception.
Chris Tapp and Brian Mullins have known one another for a long, long time. They grew up in Western Kentucky, just a stone’s throw from the border or Indiana, and attended different High School mere minutes down the road from one another. They originally started playing together in their early twenties before going their separate ways only to reunite in another outfit a decade down the line. “We were playing together in 2009 in another band that was doing really well,” Tapp said. “It didn’t work out, so we both kind of exited that band and contemplated retirement.” It didn’t take long before they were thankfully disabused of that notion.
That band is an intense amalgam of Led Zeppelin meets Free, Soundgarden meets Black Crowes; rock and roll wizardry where the riffs are hard, the vocals are searing, and the low end is capital “H,” heavy. Most of the album was recorded in a single day at Sam Phillips fabled recording studio in Memphis. “That’s our second record there, so there was a lot of familiarity going back in,” Mullins said. “The thing about that studio is that it’s old, and vibey. Sometimes you gotta bang on the gear a little bit to make it work. It’s kinda like the Millennium Falcon. It’s badass, but you just gotta get it running right.”
‘Heavy Shoes’ is Cold Stares’ best record yet, and they know it. It took a lot of blood, sweat, tears and doubt before Chris Tapp and Brian Mullins reached this moment, but it’s all the sweeter knowing they did it their way. “We’ve been through some tough times, and I’d say our band is a pretty good representation for blue collar people in general. People that work hard. We’re just a blue-collar American rock and roll band.”
For Indie Stores Only. Joan Shelley’s out of print 2014 album is repackaged here in a deluxe tip-on jacket and pressed on purple vinyl. Limited to 2,000 copies worldwide. Electric Ursa was recorded out of the spotlight in Louisville, Kentucky. A quiet, 8 song record which owes much to the post-rock history of its hometown on songs like “Something Small” and “Rising Air”, while “River Low” and “Electric Ursa” hint at the brilliant Over and Even waiting just around the corner. Electric Ursa brought Shelley to the national stage. Rolling Stone noted that the songs project “a huge, resplendently pained serenity” while Pitchfork declared that while the album “isn’t her debut, it is her absolute arrival.”
MEDWAY GARAGE UPSTARTS! 2nd LP! The Shadracks are a three-piece rock n’ roll group hailing from Medway, Kent. With timeless and expert precision the Shadracks play from 37.3 years in the past 33.7 years into the future. The actual origins of the group date back even further with their cultural appropriation of Babylonian 'Rhythm and Punk. A mere 3 years ago Huddie Shadrack and Elisa Abednego had a brief encounter in deserted parkland. Discovering sheared an interest in vacant park benches, herbaceous borders and beat music it became paramount that they form a group - and quickly. After the release of there self titled debut LP, a subsequent live BBC 6Music session for Marc Riley and a fast selling EP, Elle Meshack retired from The Shadracks to peruse a career as a Poly Styrene impersonator aboard a Tahitian cruise liner: SS Honolulu Baby. Fortunately for the bass bereft Shadracks an advert placed in the window of a local stationers was answered by a certain Rhys ‘King Nebuchadnezzar’ Webb. A meeting issued and after proclaiming "Oh merciful Marduck, may the house that I have built endure forever” Their followed a two-hour induction ceremony (in which to learn all the new tracks for their forthcoming long player From Human Like Forms and Webb, for it was he, was sworn into The Shadracks fraternity. From Human Like Forms sees The Shadracks achieving giddy new heights in their song writing and performing abilities - pushing their ancient sound 3.7 years ahead of the current lunar time module. Councillor Duxbury. 2021
The full-length debut from Bendigo Fletcher, Fits of Laughter is a collection of moments both enchanted and mundane, sorrowful and ecstatic: basking in the beauty of a glorious lightning storm, waking with a strand of your beloved’s hair happily caught in your mouth, drinking malt liquor while bingeing “The X-Files” on a lonesome Saturday night. As lead songwriter for the Louisville, KY-based band, frontman Ryan Anderson crafts the patchwork poetry of his lyrics by serenely observing the world around him, often while working his grocery-store day job or walking aimlessly in nature (a practice partly borrowed from the late poet Mary Oliver). When matched with Bendigo Fletcher’s gorgeously jangly collision of country and folk-rock and dreamy psychedelia, the result is a batch of story-songs graced with so much raw humanity, wildly offbeat humor, and a transcendent sense of wonder.
True to its spirit of purposeful wandering, Fits of Laughter unfolds in a wayward yet lushly detailed sound, embroidered with everything from crystalline harmonies to blistering guitar riffs to heady drum-machine beats. For help in forging the album’s ragged elegance, Bendigo Fletcher worked with producer Ken Coomer (the original drummer for Wilco and Uncle Tupelo), whom Anderson met in a flash of strange serendipity. Soon after he’d connected with Coomer via phone and bonded over a shared affection for Pink Floyd’s Obscured by Clouds, the band headed to Nashville to record in Coomer’s garage studio, laying down the album’s eight songs in nine frenetic days.
In keeping with the regional perspective that defines much of folk and country music, Fits of Laughter ponders certain paradoxes inherent in the band’s homeland. “In Kentucky there’s a long-running frustration of tradition and stubbornness versus progress,” says Anderson. “On one side you’re looking at things like the coal industry or Mitch McConnell, but then there’s also a feeling of togetherness and a fuck-the-man attitude and a loving desire for everyone to be left alone.” Referring to Fits of Laughter as a coming-of-age album, Anderson also examines a more internal conflict throughout the songs, including his choice to abandon his medical-school aspirations in favor of pursuing a career in music. “The title’s really about the spectrum of emotions I’ve felt on the way to finding what makes me feel like I’m living truthfully, rather than holding onto what I think other people’s expectations are of me,” he says. “It’s a phrase that bridges all of those emotions—everything from joy to hysteria.”
Expansion Records and PIR have got together for a series of souvenir 7” single releases to celebrate the 40th Anniversary of the iconic green label. There will be 500 pressed of each. Profile is huge around the PIR around the anniversary with PIR’s Kenny Gamble interviewed on Radio 2, Jazz FM, Smooth FM and in The Telegraph, Mojo, Blues & Soul and Manifesto. There’s also a “Philly 40” film being uploaded to social networks featuring interviews with Kenny Gamble and Tom Moulton around a series of commemorative releases. The 7” series focuses on the label’s most currently in vogue dance floor records and includes one previously unissued recording by The Jones Girls taken from the company’s Philadelphia vaults. Special PIR 40 logo and design will utilised for the label and 7” range sleeve for this collectors series. More to follow.
Epic tracks like D.O.A., Slumlord, Unknown and Smash The State lash out at the listener with incredible power and drive. This album influenced fans and musicians from around the world including: NOFX, Nirvana, Green Day, Jello Biafra, Henry Rollins, Red Hot Chilli Peppers and Rancid.
Fifth -and last- volume of our "R&B Hipshakers" series, featuring rockin' R&B and early soul from the King and Federal catalogues. A compilation of tracks from 1953 to 1964 by essential artists such as Hank Ballard, The 5 Royales, Little Esther, Little Willie John, Lula Reed, Albert King… that, after 5 juicy volumes (do you have them all?), reach the magic number of 100 delights from King and Federal's incredible output.
20 terrific dance cuts selected by genre expert Mr Fine Wine, from WFMU's Downtown Soulville. Most of the tracks have never been reissued before. *This volume includes a previously unreleased version of Lulu Reed's 'Your Love Keeps A-Working on Me' on a bonus single that will be solely available as part of this 2LP + bonus 7" pack.
out of Stock
Last delivered 5 years ago available to reorder, subject to availability
Imbued with the grit of vintage country music and the grace of gospel, Leah Blevins’ debut album is a scrapbook of sorts, a collage of feelings and memories from a decade spent working in the big city of Nashville while missing the small town she left behind. “It’s a timestamp of my twenties,” says the Sandy Hook, Kentucky, native. “Here are all the stories and all the experiences from that decade. Here are all the mixed emotions I’ve felt about things I’ve gone through and people I’ve met along the way.” First Time Feeling turns tribulations into what Blevins calls “bundles of triumphs,” which lend weight to her well-observed lyrics and gravity to her soulful vocals. “It’s about coming into womanhood, but it’s more than just a coming-of-age story. It’s me discovering that I’m capable of writing a song on my own. I’m capable of staying sober. I’m capable of all these things that once felt so far out of reach. Within those walls these songs had to be unapologetically honest.” Or, as she puts it on the bluesy opener “Afraid,” “Have you ever been afraid, with nowhere to hide? Scared of nothing, but you’re running inside?”
. “I want people to find something relatable within these ten songs. But for me they’re a reminder that all the pain that I went through—which isn’t that different from the pain every human goes through—it’s all mine. By making this album, I’ve taken it, I’ve owned that pain, I’ve made it mine, and I’ve wrapped it up with a bow on top.”
Release Me 2 is a new collection of ten previously unreleased studio performances from the legendary Barbra Streisand, spanning 1962 to 2014. The album showcases exquisite songs and sublime studio performances recorded over the course of Barbra's astounding career, but shelved for various reasons. In her notes for the album, Barbra says, "For me, the studio is a combination musical playground and laboratory…a private sanctuary, where the possibility of catching lightning in a bottle always exists. Whenever that kind of magic happens, it's extremely satisfying. Sometimes though, when the arrangement doesn't quite gel or the song no longer fits the tone of the album it was meant for, the tapes go into the vault for safekeeping. Working on this 2nd volume of Release Me has been a lovely walk down memory lane…a chance to revisit, and in some cases, add a finishing instrumental touch to songs that still resonate for me in meaningful ways.
Release Me 2 features songs penned by celebrated writers and tunesmiths including Burt Bacharach and Hal David, Barry Gibb, Randy Newman, Michel Legrand/Alan Bergman/Marilyn Bergman, Harold Arlen and "Yip" Harburg, Carole King, Steve Dorff, Paul Williams/Kenny Ascher, and Walter Afanasieff/John Bettis.
Widely recognized as an icon in multiple entertainment fields, Barbra Streisand has attained unprecedented achievements as a recording artist, actor, director, producer, screenwriter, author, songwriter and concert performer. Streisand has been awarded two Oscars, five Emmys, ten Grammys including the Legend Award and the Lifetime Achievement Award, a Tony Award, eleven Golden Globes including the Cecil B. DeMille Award, three Peabodys, and the Director's Guild Award for her concert special -- the only artist to receive honours in all of those areas.
Since Grazed is either the 14th or 16th record depending on how you count them (but who’s counting?) by Eleventh Dream Day, a Chicago band with Kentucky roots.
After 2015’s blistering guitar blast Works For Tomorrow, Janet Beveridge Bean, Rick Rizzo, and Douglas McCombs return alongside James Elkington and Mark Greenberg.
The hour of music on this 2xLP takes the long road home, spacing out at the wheel and reveling in the journey - celebrating those along for the ride. This is not a record about what is lost, but what is still there, however nicked up and grazed it may be. Built from the bottom up, the 12 songs here start simply with acoustic guitar and a voice and layer a lush symphony of sound over the band’s most melodic tunes to-date.
STANDARD 2LP VINYL EDITION - LIMITIERT Geboren 1970 in Tokio, verbrachte Jonathan Meese seine frühe Kindheit in Japan, und kam mit drei Jahren 1973 gemeinsam mit seiner Mutter zurück nach Deutschland. Als Kind sprach er nur japanisch und englisch. 1995-1998 Studium an der HfbK in Hamburg, 1998 Durchbruch als bildender Künstler auf der Berlin Biennale. In seinen Gemälden, Performances und Aktionen thematisiert Meese immer wieder die Rolle Deutschlands und deutsche Mythen. Eine ursprünglich beauftragte Meese-Inszenierung des ûParsifalë 2016 in Bayreuth wurde 2014 wegen angeblicher Unfinanzierbarkeit gekündigt. Der Münchener Techno- und House-Produzent Hell ist seit zwei Jahrzehnten ein Bewunderer Meeses. Als Hell vor zwei Jahren bei Jonathan Meese anfragte, ob dieser das Cover für Hells neues, kürzlich erschienenes Album ûHouse Music Boxë gestalten wolle, sagte dieser sofort zu. Die Wertschätzung entpuppte sich als gegenseitig. Man verabredete eine experimentelle Studiosession, um auszuloten, ob die polarisierenden Sprachperformances von Jonathan Meese in Verbindung mit Musik von Hell eine eigene Qualität entwickeln würden. 2019 nahmen Hell und Meese zum ersten Mal gemeinsam auf. Meese steuerte Textideen auf Papier bei, Hell hatte Instrumentals vorbereitet, die sowohl Hells stilistische Interessen, als auch Meeses musikalische Vorbilder - von DAF über Sisters of Mercy bis hin zu Kraftwerk - berücksichtigten. Hell: ûMir wurde in vielen gemeinsamen Gesprächen klar, wie musikaffin er eigentlich ist und wie viel unterschiedliche Musik er kennt. Und vor allem: Wie sehr die Musik ihm auch in seiner Kunst als Inspirationsquelle dient.ë Die Sessions - insgesamt drei, davon zwei gemeinsam mit Meeses 91-jähriger Mutter Brigitte - fanden im Trixx-Studio am Berliner Moritzplatz statt. Meese assoziierte Freestyle über Beats und Loops von Hell. Hell: ûIch bewundere Jonathan Meese nicht zuletzt als performativen Künstler - und gerade auch seinen stimmlichen Vortrag. Im Studio sang, sprach oder flüsterte er dann seine improvisierten Texte über die Tracks, die ich vorbereitet hatte.
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
First ever vinyl reissue of rare private pressed Florida Funk/Soul from 1980. Featuring founding members of 'The Winstons' (the 'Amen Break', most sampled track in electronic/hip hop music). 180g Black Vinyl Edition limited to 500 copies, comes with obi strip and insert featuring unseen pics & liner notes. Streetlife was a short-lived soul-funk band from the Tampa Bay area and released just one album in 1980. The group was composed out of several dynamic musicians (ranging from street players to college professors) but at that time nobody knew (yet) that their Nite Songs LP would become such a much sought-after private pressed holy grail within the record collecting community! Streetlife was founded in 1979 by Sonny Pekerol and Phil Tolotta who were both members of the top-selling 1960s Washington DC Grammy Award-winning hit band 'The Winstons'. Their track Amen, Brother is the most widely sampled instrumental in the history of the electronic music & hip hop genres_it would become known as the Amen Break. When `The Wintstons' story came to an end, Sonny Pekerol (founding member and originally playing the bass - then successfully evolving into the manager and promoter) and pianist/vocalist extraordinaire Phil Tolotta would continue their musical friendship/collaboration under the name `Streetlife'. Their high-energy sound got the attention of local crowds in no time_so the decision to record and cut a vinyl album came as a natural thing. Nite Songs (produced by Sonny & Phil, who also wrote the bulk of the songs) saw the light in 1980 and quickly gained attention and airplay (receiving radio & television coverage nation-wide). Described as the hottest band from the state of Florida, `Streetlife' had the magnetism to captivate you, be it on concerts, nightclubs or on vinyl. Other members included: Octavia (responsible for the amazing lead & backing vocals on the album), Mark Halisky (on keyboards & the writer of two songs on Nite Songs), Ray Butler (on drums), Mike Milhoan (on trumpet), Bryan Mann (on the guitar) and Stephen Nathan (playing the trombone, flugelhorn & doing the arrangements). Charles Davis also played bass in the band for a while (he and bandmate-drummer Ray Butler were members of the `Washington Jamb Band' back in 1977). Mike Flore (Sax) and Ramon Lopez (from the well-known `Stan Kenton Orchestra') would also join them on the Nite Songs recordings. Collectively `Streetlife' had more than 75 years of experience_and these extraordinary talents (with almost as many varying backgrounds) are meticulously coming together on the album we are presenting you today. The entire album is filled with sexy (yet strong) unique vocals that make the listener experience a lot of emotions, aggressive `slap & thumb' bass lines & small yet groovy horn sections _one can clearly hear the influences of artists like Otis Redding, Curtis Mayfield, as well as several Motown, acts like Marvin Gaye softly slipping in. If you like your songs either slow, sexy and groovy or prefer them fast-paced and more experimental & cosmic_look no further, Nite Songs has it all. This is THE perfect combination of slick soul, blasting Hammond B-3 organ funk, smooth jazz and melancholic R&B piano works. This album just begs for a prominent space in record collections fans and crate diggers worldwide!
out of Stock
Last delivered 5 years ago available to reorder, subject to availability
Die Grammy-nominierte Band Hiatus Kaiyote veröffentlichen ihr neues Album auf Brainfeeder! Knapp 6 Jahre nach "Choose Your Weapon" (2015) erscheint endlich das brandneue Studioalbum!
Die zweifach Grammy-nominierte Band besteht aus Naomi „Nai Palm“ Saalfield (Gitarre, Gesang), Paul Bender (Bass), Simon Mavin (Keyboards) und Perrin Moss (Schlagzeug). Das neue Album ist der Nachfolger ihres 2015er Albums, „Choose Your Weapon“, das der Rolling Stone als „atemberaubenden Schritt nach oben“ beschrieb und sie von Glastonbury bis zum Fuji Rock führte, vom Roots Picnic bis zur ausverkauften Sydney Opera. Das neue Projekt konnte endlich entstehen, nachdem die Band auf Songs von The Carters (Beyoncé & Jay-Z), Kendrick Lamar, Anderson .Paak, Chance The Rapper oder Drake gesampelt wurde - mit dem Nai Palm aber auch auf seinem Album, „Scorpion“, zusammenarbeitete. Das Ergebnis ist ein Album, das sich, untermalt von Verocais Streichern, in einem Groove entspannt: sonnenbeschienen, erhaben, meisterhaft. Hinter allem steckt Hiatus' gewohnter Sinn für musikalische Abenteuer, ihre Gabe, das Komplexe einfach klingen zu lassen, oder, in ihren eigenen Worten: „Wondercore“. Simons Experiment mit einem ungeraden Rhythmus, der in 5er-Gruppen gepackt ist, wird zu einem kaskadenartigen Jam namens „Rose Water“. Benders und Simons Austausch einzelner Noten, hin und her, um eine Melodie zu bilden, wird zu „All The Words We Don't Say“. Nais frecher Kommentar auf sexbesessene, dreiminütige Pop-Hits wird zu „Chivalry Is Not Dead“, einem Song über die bizarren Paarungsrituale von Leopardenschnecken (sie leuchten fluoreszierend) und Seepferdchen (sie verschränken ihre Schwänze und tanzen). Das Album endet mit dem zarten „Blood And Marrow“, einer Bender-Bassline, zu der Nai und Perrin improvisierten, und die Simon als seinen Lieblingssong anpreist: „Es ist ein klassischer Hiatus-Studio-Song, der eine schöne Erkundung ist und ein Geheimnis bereithält.“
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
Parisian Soul debut on Local Talk is intelligent, warm, jazzy, peak time house music.
It has the underground vibe yet speaks to everyone, timely thought out chords that gives you positive rush to your ears and give your heart a great big hug.
On the flip legendary producer Olivier Portal aka Playin' 4 The City delivers a mix that is screaming to be played as much on a sunny afternoon as it is at a night party, it is heavenly!
Artist info : In the early 80's, when he was still a young boy, David Hachour involved himself totally in Hip Hop culture. He bought turntables and became a Hip Hop DJ. He threw parties, participated in graffiti contests, became a high level BMX competitor. Having moved to London, David ditched the Adidas and the paint bombs for electronic music.
In 1998, David Hachour founded Oscar with his friend Florent Sabaton, releasing 3 albums and many singles. David traveled all over the world to play alongside famous DJs such as Rainer Truby, Louie Vega, Shazz, Carl Craig, Grand Master Flash, Kenny Larkin, Dixon.
In 2016, David started working on Parisian Soul with his friends Alexandre Destrez (St Germain, Dimitri From Paris) and percussionist Edmundo Carneiro (St. Germain, Bob Sinclar, De La Soul).
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
• “Choctaw Ridge” explores a new country sound, one that emerged at the end of the 60s in the wake of Bobbie Gentry’s ‘Ode To Billie Joe’, a shock number one hit in 1967. When singers like Gentry, Jimmy Webb, Michael Nesmith and Lee Hazlewood moved from the south to Los Angeles to make it in the music business, they were not part of the Nashville in-crowd and they forged a new direction.
• ‘Ode To Billie Joe’ was the tip of the iceberg, and its success helped a bunch of singers and storytellers to emerge over the next three or four years. Some of the tracks on this collection bear that song’s stamp more clearly than others: Sammi Smith’s moody ‘Saunders’ Ferry Lane’ had a similar mystery lyric, and Henson Cargill’s ‘Four Shades Of Love’ is a portmanteau, with one (or possibly two) of the theoretically romantic situations ending in death.
• Suddenly, character sketches of southerners became a lot more rounded – women didn’t have to stay home, or take abuse at the office, and darkness wasn’t only found at the bottom of a bottle. Storytelling is the link between all of the songs on this collection. We have cautionary tales about what could happen to someone who heads for the bright lights and doesn’t make it, ending up in the grasping hands of ‘Mr Walker’ (Billie Joe Spears), or on the ‘Back Side Of Dallas’ (Jeannie C Reilly), or on a mortuary slab in the case of the songwriter with the ‘Fabulous Body And Smile’ (Robert Charles Griggs). And there are stories about wanting to go home – Nat Stuckey’s ‘What Am I Doing In LA?’ and Charlie Rich’s ‘Feel Like Going Home’ – and others from Ed Bruce and Lee Hazlewood, who know that their home isn’t home anymore.
• The tracklist and fulsome sleeve notes have been put together by Bob Stanley (Saint Etienne) and Martin Green (Smashing, The Sound Gallery), who have been collecting these records for decades.
• The voices are resonant and relatable, and the productions take in the best of what pop had to offer in the late 60s and early 70s. Before the factionalism between smooth pop-conscious Nashville and the hedonistic ‘outlaws’ made it look inward again, this was a golden era for an atmospheric, inclusive and progressive country music. It began on the third of June, another sleepy, dusty Delta day.
- North American version on CLEAR vinyl (2XLP) - Limited DOUBLE 180g Vinyl Edition (500 copies) with obi strip - Rare Dutch studio recordings, one of Art's last sessions before he passed away - Comes with insert/liner notes // Art Blakey (1919-1990) actually needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk's first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane_.and countless others.Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. His signature polyrhythmic style was amazing, exuding power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms. A loud and domineering drummer_but Blakey also listened and responded to the others in the band. He was an original, an important drummer you'd hear_and would recognize immediately.Art Blakey was inducted into the Downbeat Jazz Hall of Fame (1981), the Modern Drummer Hall of Fame (1991), the Grammy Hall of Fame (1998 and 2001) and was awarded the Grammy Lifetime Achievement Award posthumously in 2005. He was sampled and remixed by renowned acts such as Raekwon, Black Eyed Peas, A Tribe Called Quest, Digable Planets, Buscemi, KRS-One and Madlib.In the mid-1950s he and Horace Silver formed `The Jazz Messengers': a group that Blakey would perform and record with for the next 35 years. Originally formed as a collective of contemporaries_but over the years the band became known as an incubator for young talent that included artists such as Freddie Hubbard, Wayne Shorter, Cedar Walton, Chuck Mangione, John Hicks_and MANY others. Art Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. Blakey's final performances were in July 1990. He died on October 16 of lung cancer. The legacy of Art Blakey and his band is not only the music they produced, but also the opportunities they provided for several generations of jazz musicians.Released on the legendary Dutch jazz label Timeless Records and one of his final recordings_on the album we are presenting you today (Chippin' In) you'll find ten sublime tracks recorded at Rudy van Gelder's Recording Studio in February 1990. Art Blakey passed away just 8 months after these tracks were cut and you can't hear any signs of him slowing down at all. For these specific recordings, The Jazz Messengers were expanded from its usual quintet or sextet into a septet and they showcase their energetic signature sound with remarkable style, musical knowledge, a dash of good humor and camaraderie you'd expect from a world class band who have entertained, thrilled and amazed for almost five decades. The line-up on these fantastic sessions includes non-other than Essiet Okon, Geoff Keezer, Dale Barlow, Javon Jackson, Frank Lacy, Steve Davis and Brian Lynch_impressive to say the least!Chippin' In sounds as successful, young and vibrant as ever! Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This electrifying set of tracks contains both originals and several eclectic versions of standards_making this release a bonafide hit and a must have for any self-respecting jazz fan or collector.
When it comes to smooth jazz vibes with soulful melodies, nobody in the lofi scene can avoid producer Flughand and saxophonist steichi. After a few successful singles, they have now completed another album titled "mandue”.
