Buscar:kevin mo

*RED VINYL*Of the plethora of touted "private press hard rock monsters'' out there, very few live up to the swaggering riff-fury of west coast blasters ODA. Commonly known as the "Black Album," the first clobbering platter by the quartet was released on their own tiny Loud Phonograph Records imprint and now commands large sums—but is actually worth the heavy hype. The band naturally centered around Randy Oda, a multi-talented ax shredder and keyboardist, and the lineup was filled out by his brother Kevin on drum assault, Art Pantoja on lead bellows and rhythm guitar, and galloping bassist Kyle Schneider. The Oda brothers were born in Alameda County, California, attending Kennedy High School in Richmond, and started the band while still teenagers at the beginning of the '70s. ODA was influenced by hard UK rockers like Deep Purple, Zep, Free, and the Who, and they gigged all over the Bay Area, with Randy garnering comparisons to Jeff Beck's molten six-string mastery. This 1971 self-titled LP (aka the Black Album) fully displays their blistering talents, but despite some local airplay on KSAN radio, the band packed it in by '73. This would not be the end of the Oda story, as Randy joined CCR's Tom Fogerty in the outfit Ruby afterwards, laying down his licks on two LPs that flirted with the mainstream, while staying true to his highly electric guitar muse. In 1983, ODA actually reformed for one more LP on Loud Phonograph, entitled Power Of Love. The comeback album delves a little deeper into radio friendly power pop, which makes sense, as in '82 Oda co-wrote "Think I'm In Love" with Eddie Money (which, let's face it, is Money's best song by like a mile). Randy would also collaborate with Fogerty as a duo, and the posthumous Sidekicks album (released after Fogerty passed) listed the clearly-integral Randy Oda as "arranger, composer, guitar (acoustic), guitar (electric), keyboards, primary artist, and producer.” In the 2000s, Randy would start another band with his brother called OPO which means "to lay a foundation" in Hawaiian, and ODA would reform to play a benefit in 2015 along with other obscure and heady/heavy Bay Area rockers like Savage Resurrection and Country Weather (some live footage of the event shows the band still rocking hard). At last, Riding Easy is legitimately reissuing ODA's first smoking, gargantuan LP with bonus tracks, so crank this one up in the '70s Camaro with the windows open, and some dirt weed joints a-blazin'. #

2LP, Black Vinyl; The Monkees Take The Helm for their Billboard Chart Topping Third Album! The double platinum Original Album was Mastered From Tape by Kevin Gray. Second LP of Bonus Rarities from the Sessions Notes by The Monkees Scholar/Producer Andrew Sandoval

ANTON NEWCOMBE and DOT ALLISON just announcedthat they will be releasing an album together under the moniker All Seeing Dolls. ''Parallel' will be out in February 2025. Upfront they share the single 'That's Amazing Grace' (backed with "Siren's Echo iron Lung") and make available this 2-track 10" as a limited teaser. Anton Newcombe is the founder, the sole constant and the creative mastermind at the centre of one of music's most fascinating bands; Brian Jonestown Massacre. He's a frontman, songwriter, composer, studio owner, multi-instrumentalist, producer, engineer, father and force of nature. There have been 21 BJM albums over the last 30 years, each embarking on their own mind-expanding adventure and exploring the outer realms of rock'n'roll; psychedelic rock, country-blues, snarling rock'n'roll, blissed-out noise-pop and more. Newcombe has established himself as a once-in-a-lifetime talent, a revolutionary force in modern music and an underground hero. Dot Allison released her debut solo album Afterglow in 1999. Over the years she has strived to keep the listener on a journey - and herself too. She revolts against what she has done before, to evolve and not just occupy the same space. That journey has taken her from Afterglow's broad church (trip-hop, Tim Buckley-esque ballads, dance tracks, chilled psychedelia) to the sultry synth-pop of We Are Science (2002), the lush, baroque Exaltation Of Larks (2007) and the eclectic, rootsy drama of Room 7½ (2009). After a hiatus to raise her family she returned with the graceful acoustic folk record Heart-Shaped Scars (2021) and the haunting, barely there beauty of Consciousology (2023). The range of guest stars on Allison's records is equally broad: where else would you find a cast list that includes Kevin Shields, Hal David, Paul Weller, Pete Doherty and Darren Emerson. Likewise, Allison's own guest roles with the likes of Massive Attack, Scott Walker, Slam, Philip Shepard, The Babyshambles & Pete Doherty, underlining the huge respect her peers hold her in.

Trumpeter Booker Little made only a few albums during his tragically short life including his astounding debut Booker Little 4 & Max Roach recorded in 1958 for United Artists. Little came to prominence in Max Roach’s band and the drummer joins him here along with George Coleman, Tommy Flanagan, and Art Davis. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

Cover designed and silkscreen printed by Arsi Keva in Kalasataman Seripaja, Helsinki (Finland).
Recycled innersleeves linocut printed by Gilles Lostale in Saint-Pierre-des-Corps, France.

''The bass-clarinetist Ville Lahteenmäki's raucous, ruggedly braying style makes him a notable addition to the Dolphy-Murray-Mahall lineage that produces maximum excitement with every outpouring of notes. His accompanists, drummer Nicolas Leirtre and bassist Trym Saugstad Karlsen, are like himself, students at the renowned Trondheim Conservatory, an institution whose impact on European jazz has been significant in modern times.''
- Kevin Le Gendre / Jazzwise

''Lähteenmäki is indeed very distinctive and original in his music. Although in some of the quietest parts the thought of John Coltrane, for example, creeps into the back of my head, the voice is that of a young and skilled musician who knows the history of the genre well.''
-Arto Murtovaara / Kulttuuritoimitus

''Straight to the point, no fuss – and greedy tough!'' Jan Granlie / Salt Peanuts

Most of the writing of Naima Bock's second album, Below A Massive Dark Land, was a solitary affair. It may not sound like it - it's made up of strong, purposeful arrangements with a huge host of musicians, filled with cradling space and warm light. This will also come as a surprise to anyone who has seen Naima perform in the time since the release of her 2022 debut Giant Palm, which was undoubtedly a communal experience. But there's power in the solitary, too. Giant Palm was arranged with collaborator Joel Burton, but going this one alone in search of something that was truly hers, Naima found she was capable of more. "After me and Joel stopped working together", she remembers, "it was an impossibility to even fathom doing arrangements myself but then I started learning violin and it was possible". Finding that she could go it alone was incredibly powerful for Naima: "I think I needed it, to be able to feel proud of something". Beyond the writing process, however, the record is not a stark, stripped back affair. Below_ still has the majesty that made Giant Palm so remarkable. Having tugged the first record down from the skies and spreading it across the earth, Naima finds a newfound vocal power and confidence born from hundreds of hours on stage, and the music sounds fuller, more tangible, and no less enveloping. This can be heard on the album's lead singles: "Kaley" feels fresh and surprising in its rug-pull choppiness but is distinctly Naima in its swinging, jubilant choruses. The accompanying "Further Away" takes a different tack, drawing you in with its simplicity. Finally, the hazy, luxurious beauty of "Feed My Release" draws on the sepia-toned traditions of The Roches, John Prine and Loudon Wainwright III and imbues them with the kind of stark confessional songwriting of Mount Eerie. These are ambitious, rich arrangements that reach deeper and darker lyrically than Giant Palm. Below a Massive Dark Land was predominantly produced by Jack Osborne (Bingo Fury) and Joe Jones, and recorded at The Crypt in north London, with additional production and arrangement by Oliver Hamilton (caroline, Shovel Dance Collective) and Naima herself. Six of the tracks on Below_ were mixed by Jason Agel, with the remainder done by Osborne and Jones. The album was mastered by Kevin Tuffy.

„Hole Erth“, das achte Studioalbum von Chaz Bear als Toro y Moi, ist der bisher unerwartetste und kühnste Schritt des Genre-Veränderers. Bear taucht kopfüber in Rap-Rock, Soundcloud-Rap und Y2K-Emo ein. Das Album vereint hymnischen Pop-Punk und melancholischen Rap - zwei Genres, die sich heute mehr denn je gegenseitig beeinflussen - und enthält die meisten Features, die jemals auf einem Album von Toro y Moi zu hören waren. Ein Gefühl der Nostalgie schleicht sich in fast jede Toro y Moi-Veröffentlichung, aber Angst ist eine Emotion, die Bear nie absichtlich so erforscht hat, wie er es hier tut. Tracks wie „Tuesday“ kanalisieren ein spezifisches, aber für immer nachvollziehbares Gefühl von pubertärem Unbehagen. Ein verzerrtes Gitarrenriff führt zu einem sich wiederholenden Refrain, der an missverstandene Teenager erinnert, die laut - vielleicht zu laut - singen, während sie mit dem Fahrrad durch amerikanische Vorstädte fahren. Diese Vorahnung ist auch in „HOV“ zu hören, allerdings nicht ohne mit lustigen Zeilen wie „Romance is so cold / My advice? To Bring a coat." zu verblüffen. Bear hat die Energie, ist sich aber bewusst, dass seine Energie nicht ewig hält. In einer Zeit, in der das Internet in immer schnellerem Tempo mehrere Genres miteinander verschmilzt, schafft Bear das seltene Kunststück, mit dem zeitgenössischen alternativen Hörer Schritt zu halten. Das Herz von Toro y Moi ist es, sich ständig zu verändern, sich weiterzuentwickeln und zu experimentieren. Auf „Hole Erth“ fordert Bear sich selbst heraus, umarmt aber auch die unzähligen Klänge und Epochen, die ihn geprägt haben, während er neue Welten zusammenschmettert.

„Hole Erth“, das achte Studioalbum von Chaz Bear als Toro y Moi, ist der bisher unerwartetste und kühnste Schritt des Genre-Veränderers. Bear taucht kopfüber in Rap-Rock, Soundcloud-Rap und Y2K-Emo ein. Das Album vereint hymnischen Pop-Punk und melancholischen Rap - zwei Genres, die sich heute mehr denn je gegenseitig beeinflussen - und enthält die meisten Features, die jemals auf einem Album von Toro y Moi zu hören waren. Ein Gefühl der Nostalgie schleicht sich in fast jede Toro y Moi-Veröffentlichung, aber Angst ist eine Emotion, die Bear nie absichtlich so erforscht hat, wie er es hier tut. Tracks wie „Tuesday“ kanalisieren ein spezifisches, aber für immer nachvollziehbares Gefühl von pubertärem Unbehagen. Ein verzerrtes Gitarrenriff führt zu einem sich wiederholenden Refrain, der an missverstandene Teenager erinnert, die laut - vielleicht zu laut - singen, während sie mit dem Fahrrad durch amerikanische Vorstädte fahren. Diese Vorahnung ist auch in „HOV“ zu hören, allerdings nicht ohne mit lustigen Zeilen wie „Romance is so cold / My advice? To Bring a coat." zu verblüffen. Bear hat die Energie, ist sich aber bewusst, dass seine Energie nicht ewig hält. In einer Zeit, in der das Internet in immer schnellerem Tempo mehrere Genres miteinander verschmilzt, schafft Bear das seltene Kunststück, mit dem zeitgenössischen alternativen Hörer Schritt zu halten. Das Herz von Toro y Moi ist es, sich ständig zu verändern, sich weiterzuentwickeln und zu experimentieren. Auf „Hole Erth“ fordert Bear sich selbst heraus, umarmt aber auch die unzähligen Klänge und Epochen, die ihn geprägt haben, während er neue Welten zusammenschmettert.

„Hole Erth“, das achte Studioalbum von Chaz Bear als Toro y Moi, ist der bisher unerwartetste und kühnste Schritt des Genre-Veränderers. Bear taucht kopfüber in Rap-Rock, Soundcloud-Rap und Y2K-Emo ein. Das Album vereint hymnischen Pop-Punk und melancholischen Rap - zwei Genres, die sich heute mehr denn je gegenseitig beeinflussen - und enthält die meisten Features, die jemals auf einem Album von Toro y Moi zu hören waren. Ein Gefühl der Nostalgie schleicht sich in fast jede Toro y Moi-Veröffentlichung, aber Angst ist eine Emotion, die Bear nie absichtlich so erforscht hat, wie er es hier tut. Tracks wie „Tuesday“ kanalisieren ein spezifisches, aber für immer nachvollziehbares Gefühl von pubertärem Unbehagen. Ein verzerrtes Gitarrenriff führt zu einem sich wiederholenden Refrain, der an missverstandene Teenager erinnert, die laut - vielleicht zu laut - singen, während sie mit dem Fahrrad durch amerikanische Vorstädte fahren. Diese Vorahnung ist auch in „HOV“ zu hören, allerdings nicht ohne mit lustigen Zeilen wie „Romance is so cold / My advice? To Bring a coat." zu verblüffen. Bear hat die Energie, ist sich aber bewusst, dass seine Energie nicht ewig hält. In einer Zeit, in der das Internet in immer schnellerem Tempo mehrere Genres miteinander verschmilzt, schafft Bear das seltene Kunststück, mit dem zeitgenössischen alternativen Hörer Schritt zu halten. Das Herz von Toro y Moi ist es, sich ständig zu verändern, sich weiterzuentwickeln und zu experimentieren. Auf „Hole Erth“ fordert Bear sich selbst heraus, umarmt aber auch die unzähligen Klänge und Epochen, die ihn geprägt haben, während er neue Welten zusammenschmettert.

Kevin Godley and Lol Creme worked together for several decades, were part of many different bands and wrote hit after hit. Two highly successful multi-instrumentalists, singers and producers who became world renowned video producers as well. Godley & Creme's Collected album features inventive, eclectic music blending pop, rock, and art influences, showcasing their unique, avant-garde style. This 2LP features the duo's biggest hits, including ""An Englishman In New York"", ""Freeze Frame"", the top hit ""Cry"" (which showcased their amazing video), ""Wide Boy"", and ""A Little Peace Of Heaven"" among others. The 2LP Godley & Crème Collected is housed in a gatefold sleeve with liner notes.

An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest possible pressing and most visually stunning presentation and packaging!
One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.

The title track, "Waltz for Debby," serves as the centrepiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.

Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.

The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.

Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paid to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.

Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.

Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Multi-Blues Music Award-Winner Albert Castiglia Assembles All-Star Cast of Righteous Souls on His New Gulf Coast Record Album including Joe Bonamassa, Josh Smith, Danielle Nicole, Christone "Kingfish" Ingram, Popa Chubby, Ally Venable, Kevin Burt, Monster Mike Welch, Gary Hoey, Rick Estrin, Jimmy Carpenter and Alabama Mike.

"During last year's "Blood Brothers" tour, Mike Zito informed me that it was time for me to do another solo album. At that moment, I felt I was ill prepared for the task. I had been constantly touring with Mike for the last two years, doing very little writing so I didn't have a lot of original material. My last two studio albums were quite thematic. With 'Masterpiece' the album centered around the discovery of my daughter. 'I Got Love' was fueled by my life during the pandemic of 2020. What would be the thing that fuels the next one? It concerned me because if I'm not living the songs, it'll never work. It had to mean something to me. Mike suggested we make it an album with guests, my friends so to speak. I was concerned my friends wouldn't have time to devote to the project. I was wrong, so wrong. Joe Bonamassa, Josh Smith, Kevin Burt, Gary Hoey, Ally Venable, Popa Chubby, Rick Estrin, Kid & Lisa Andersen, Alabama Mike, Jimmy Carpenter, Kingfish Ingram, Danielle Nicole, Monster Mike Welch, Jerry Jemmott, D-Mar Martin, Jon Otis, Jim Pugh and others stepped up for me. My daughter, Rayne even participated which was the cherry on top. Suddenly, the theme became clear. It's about friends and family. It's about 'Righteous Souls'." - Albert Castiglia

The vinyl is limited edition blue vinyl with a numbered certificate. This is the first coloured Evo vinyl. The Miners Son Film Soundtrack features self-penned material from Ettecon. 11 original Tracks, most of which has been written and composed by Ettecon Productions. A Nostalgic story of the hopes and dreams of a rock band in 1984. THE MINER’S SON depicts how a year of industrial action and violent unrest changed the face of a small tight knit community and their way of life forever. A bitterness that is still very much felt today. The film focuses on a bygone industrial past of a Kent town in Southeast England. Some of the characters are based on real people and true events from the day. The findings for this story are factual and sourced from friends and family who lived through this turbulent time. This story evolved from the memories of Kevin Short, co-writer & producer of The Miner’s Son. Kevin, a miner’s son himself was a guitarist in many local rock bands who struggled to achieve recognition. Despite this, he recalls the era as a fun and carefree time. A world away from how people see life today.

Clark Terry war ein amerikanischer Swing- und Bebop-Trompeter, ein Pionier des Flügelhorns im Jazz, ein Komponist und Pädagoge. Seine Jazzkarriere erstreckte sich über mehr als 70 Jahre, in denen er auf über 900 Aufnahmen zu hören war.

Das 1958 in New York aufgenommene und im selben Jahr
veröffentlichte Album In Orbit ist das sechste Album des Trompeters Clark Terry als Leader. Neben Thelonious Monk am Klavier, der auf dem Album als einziger Riverside-Sideman zu hören ist, spielen auch Sam Jones (Bass) und Philly Joe Jones (Schlagzeug) mit. Diese Neuauflage des Albums erscheint als Teil der OJC-Serie und wurde bei RTI auf 180-Gramm-Vinyl mit (AAA)-Lacken gepresst, die von den Original-Masterbändern von Kevin Gray bei Cohearent Audio geschnitten wurden. Sie wird in einem Tip-On Jacket präsentiert.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Joe P returns this August with his new album; Garden State Vampire.

When the onset of the pandemic brought about the dissolution of the band he’d fronted since eighth grade, Joe P found himself in isolation with time to step out and experiment on his own. From the refuge of his New Jersey basement studio, he threw himself into writing, recording and producing his most personal material to date. Posting homegrown ideas to TikTok, Joe P watched as his raw acoustic videos drew millions of views and over 300K followers in just a few months. Among those new fans was Apple Music’s Zane Lowe, who kicked Joe’s career into hyperdrive by duetting alongside his self-made “Fighting In The Car” video (streaming HERE). A deal with Neon Gold/Atlantic was quickly followed by the acclaimed release of Joe P’s acclaimed debut EP, Emily Can’t Sing, highlighted by such singles as “Leaves,” “Fighting In the Car,” and “Off My Mind,” the latter of which went #1 at Triple A radio outlets nationwide.

Joe P has been on a roll since his 2022 project French Blonde - which was heralded by the anthemic “Happy People,” and includes the pulse-pounding title track, “French Blonde,” joined by an official live performance video, directed by longtime visual collaborator Anthony Yebra. The video for “French Blonde” can also be seen as part of the opening scene of Joe P’s short horror film, “If We Run,” starring Michael Gandolfini (The Many Saints of Newark), Kevin Interdonato (The Sopranos), and Joe P as himself.

Die neue AOTN 12" präsentiert zwei sehr unterschiedliche Dancefloor-Monster, die beide die seltene Disco-45 der New Yorker Band Sass von 1977 samplen: "Where Is the Love". Side A ist ein super-deeper, druggy Disco-Knaller von East Coast Love Affair. Als Gegengewicht wird die Flip von Kevin McCullagh (BDK) im Disco-House-Stil der späten 1990er definitiv ein paar Hintern in Bewegung bringen.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

Renowned New Zealand musician Nathan Haines announces his eleventh studio album and first solo album since 2014. Nathan’s vibrant career has solidified his status as a leading figure in contemporary jazz and electronic music, and throughout his career he has distinguished himself as a masterful saxophonist, flautist, and composer, celebrated for his innovative fusion of jazz with elements of soul, funk, and dance music. Notes maintains the jazz sound he is famed for, whilst also seeing the artist embrace the electronic/house and disco scene.

A labour of love, work on the album started several years ago alongside the now deceased UK producer Phil Asher who had produced Nathan’s two most successful albums Sound Travels and Squire For Hire. Regarded as one of the finest DJ’s and producers to emerge from the UK, playing a pivotal role in bridging the gap between 4/4 and broken beat, this was the first time Nathan and Phil had worked together in over eighteen years. Phil passed away during the recording of the album, but he appears on a number of tracks, and his spirit and influence can be felt throughout the entire release.

The album features a number of guest vocalists, including UK soul-diva Vanessa Freeman (Bugz In The Attic, 4 Hero, Kaidi Tatham, Kyoto Jazz Massive), and exciting young talent Ajuna Oakes, Ruby Cesan, La Coco and EO (NZ). Alongside Nathan’s own musicianship, the album also features bass from Razor-N-Tape label founder Jkriv and electronic jazz pioneer Mark de Clive-Lowe, with both bringing a wealth of collaboration and musicality to the project. Long time collaborator and much respected UK based producer Marc Mac (one half the highly influential and respected duo 4Hero) provides beats for a number alongside Nathan’s father Kevin on acoustic bass.

Highly respected DJ and producer Frank Booker (Razor and Tape) drops his signature beats on three tracks which fits nicely alongside Asher’s drum work. The album’s one cover see’s Nathan teaming up with vocalist Rachel Clarke on their version of Storm by US 80’s vocal group Rare Silk - this track is entirely acoustic and is one of the album’s special moments both artistically and musically.

The past years have seen Haines continuing to establish himself as one of NZ's best DJs and live performers, working on releases and remixes with the likes of Chaos in the CBD, Frank Booker, JKriv, Ray Mang and many others. He has also just released a solo album on Goldie's Metalheadz label under his Sci-clone alias co-produced with DJ A-Sides to excellent reviews and featuring a wealth of talent and musicianship.