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Kitchen sink Scuzz n’ Bass from 1998 Tokyo. Existing somewhere between Drum n Bass, Musique Concrète, Free Jazz and Noise, Jigen (aka Taro Nijikama) ran the cult Shi-Ra-Nui imprint and was a lynchpin of Tokyo's underground music scene, working as much behind the scenes as in front of them.

There is an inherent grit to the work on display here. Jazz-inflected drums, echoing bells, dissonant flutes, and haunting piano work coarsely interact with skipping breaks and industrial atmospherics, punctuated by tense gasps of silence. Samples disintegrate and reappear, creating a kind of elliptical narrative, and the 9 tracks here perhaps trigger a disorienting sense of dèjá vu.

Originally released on CD by Shi-Ra-Nui in 1998, Double Circumflex is proud to present the first officially licensed reissue of Stone Drum Avantgardism by Jigen and introduces the prescient sound of Shi-Ra-Nui for deeper excavation into its shadowy fissures. Mastered and cut with maximum precision by Beau Thomas at Teneightseven.

Tommy Prine’s debut album is not only a long-awaited introduction but a testimony to Prine’s twenties and the loss, love, and growth that has defined them. Co-produced by close friend and kindred musical spirit, Ruston Kelly, and beloved Nashville engineer and producer, Gena Johnson, the album is rich and dynamic, from cathartic jams to nostalgic storytelling. The son of late songwriting legend, John Prine, Tommy Prine grew up in Nashville surrounded by music, art and writing. As a child, he thought all parents were musicians, as his father “going to work” meant performing shows for adoring fans and writing songs. Tommy learned to play guitar by watching his father play, copying the ways his fingers moved and inadvertently developing his own singular style. Summers spent in his mother’s homeland of Ireland lent their own inspiration too and ten straight years camping at Bonnaroo introduced Prine to a swath of music not belonging under the greater Americana umbrella and his musical tastes grew to become decidedly eclectic, spanning John Mayer, Outkast, Bon Iver, the Strokes and more. In a way, what makes Prine’s own music so special is how he’s navigated life and creativity apart from his family’s name—as he once said, on stage, to a disorderly request for one of his dad’s songs, “You’re not about to get an hour of John Prine Junior.” It wasn’t until Prine reached his mid-twenties, though, that he considered a career of his own in music and began to share with others the songs he wrote in private. It took a long while for Prine to even share the songs he’d been writing about the triumphs and tragedies of his life, only recently deciding to let his friends and now-collaborators Ruston Kelly and Gena Johnson hear what he’d been putting together. This Far South is an emotionally complex but universally accessible debut that sonically brings together a colorful patchwork of musical influences and lyrically explores existential questions and emotional experiences.

Recycled Col. LP

McKinley Dixon calls the late Toni Morrison the greatest rapper of all time; and the way he tackles topics like survival, violence, and religion within the expansive landscape of the Black experience, evokes her novels. It is from the title of Morrison‘s Beloved trilogy where he finds the title of his new album with City Slang Records: Beloved! Paradise! Jazz!? Musically his household was defined by “artists whose first name was Mary,” including Mary J. Blige and gospel duo Mary Mary. Discovering Outkast was formative for Dixon, deepening his love for hip-hop while he also grew curious about the more theatrical rock of groups of the day, bands like My Chemical Romance and Panic! At The Disco that his Maryland friends introduced him to. “Those groups also helped me with my sense of longing, since their music reflected a sense of longing,” he says. Eventually he channelled these competing influences into a debut EP he released in 2013. With time, his music became his primary means of self-expression, whether discussing Blackness or his own relationship with healing. Across his next releases, his style evolved and his confidence grew, especially when it came to live instrumentation. His 2021 debut album For My Mama and Anyone Who Look Like Her was a game changer, as Dixon set his sights on heartache and grief. “I was making these really dense and chaotic songs, stuffing whatever thought I had into five and a half minutes,” Dixon says of that project. Beloved! Paradise! Jazz?! is an attempt at channeling different impulses. Sometimes rough and other times delicate, this record is a journey into is a journey into the psyche of McKinley Dixon, with all of the of the attendant peaks and valleys.

Von einem Ein-Raum-Betrieb in New York City bis hin zu einem der weltweit führenden Musikunternehmen hat Atlantic eine Reihe von Aufnahmen veröffentlicht, die die Entwicklung der modernen Musik nachhaltig beeinflusst haben.
Unsere einjährige Kampagne ATL75 feiert die größten, klügsten und ikonischsten Künstler, die heute Teil der Atlantic Records-Familie sind. Künstler, die kulturell relevant, vielfältig, aufstrebend und inspirierend für die Musikfans von heute sind - weltweit.

Das Album der Stone Temple Pilots erscheint jetzt als Crystal Clear Vinyl.

Mark Hawkins readies ‘Venn Diagram’ album for Aus Music this May.
Mark Hawkins’ early releases on labels such as Djax Up Beats and Ugly Funk lit flares in the world of
underground techno, with a sense of humour and tougher-than-thou sonic palette enforced via his jacking live
sets. Across the following decades, Mark has delivered razor sharp cuts that encompass pretty much
anything that has an electronic heart - leaving his own unique trail for others to follow via his work for labels
as diverse as Dixon Avenue Basement Jams, Sonic Mind, Mistress Recordings, Houndstooth and Aus.

With his latest album, it feels like Mark has pushed ahead with a change of direction he started with 2021’s
‘The New Normal’. ‘Venn Diagram’ carries on this journey into uncharted lands; molten, distorted drum
assaults weave around glistening melodies, kitchen sink soul glides below fractured sound pools. Opener
‘Verblex Oscillos’ immediately demands your attention grabbing, with a so-happy-it’s-sad melody spiralling
around a cascade of tough-as-fuck dance floor destroying beats, along with ‘Isolated’s urgent combination of
strings, acid and chicago-tough electro beats.

Other cuts on the album share a similar approach, ‘Maladayfun Friction’s restless energy derives from a fusion
of skittering drums and deranged synths and ‘Still Have Time’s dreamy super saw pads and plaintive vocal
espouse a kind of wasted elegance, roaming the city nightlife in a Gucci dress and Doc Martin boots.
‘Nlasckhdsjk’ and ‘Frederikalstublieft’ propel forward with such a sleek and effervescent aesthetic, recalling
fast drives along picturesque European highways or heady take-offs to unknown urban territories. The
aesthetic becomes more elegant on the album’s centrepoint tracks ‘Rebula Conundrum’ and ‘Nlasckhdsjk’,
where optimistic bleeps, bass and 707 drums underpin jazzy chords and soaring leads.

Other tracks show the arc of Mark’s direction of travel, with soulful vocals that share a well of deep-rooted
optimism that was so evident on his breakthrough 2016 Social Housing album. ‘L.O.V.E.’ breaks into
post-Sophie territory with a catchy modulated vocal joyfully two-stepping across to the nightclub bar and
‘How Do I Know’ providing a heart rending torch song for 6am kicking-out-time refugees to help them find
their way back home.

Oui Oui, Si Si, Ja Ja, Da Da" wurde erstmals 2012 veröffentlicht und ist das zehnte Studioalbum von Madness nach dem triumphalen Comeback-Album The Liberty Of Norton Folgate von 2009. Die Band hat verschiedene Titel für das Album in Erwägung gezogen, bevor sie sich zusammen mit dem legendären Künstler Peter Blake, der das einzigartige Coverdesign entworfen hat, auf den Namen einigte. Das Album, das eine Vielzahl von Pop-Perlen und majestätischen Dub-Cuts enthält, war das siebte Album der Band, das die Top Ten der
britischen Albumcharts erreichte, und bewies einmal mehr, dass Madness auch nach über 30 Jahren immer noch in Bestform sind. Diese Neuauflage enthält 7 Bonustracks, die nicht auf der Original-LP erschienen sind, und ist auf schwerem Doppelvinyl gepresst und in einer Gatefold-Verpackung präsentiert. Außerdem enthält sie
brandneue Linernotes mit Interviews mit den Bandmitgliedern Mike Barson, Chrissyboy Foreman und Daniel 'Woody' Woodgate.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

"Released in April 1966 by Decca Records, Aftermath was the Rolling Stones’ fourth British studio album. It was issued by London Records in the US in June 1966. Recorded at the RCA Studios in California, it was their first album released in true stereo.
It is also one of the first ‘popular’ albums to eclipse the 50-minute mark, and contains one of the earliest rock songs to exceed 10 minutes (the blues jam Goin’ Home). The album’s release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to London Reocord’s fear of offending Christians in the US.

The album was considered an artistic breakthrough for the band, being the first to consist entirely of Jagger–Richards compositions, (after their maverick young manager, Andrew Loog Oldham, had shut them in the kitchen of their flat until they had written some more original songs!).
It also featured strongly the immaculate guitar work of Brian Jones and the remarkably wry, observant song-writing of Jagger–Richards
Jones played a variety of instruments not usually associated with their music, including sitar, dulcimer, marimbas and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. The burgeoning influences of psychedelia, Bob Dylan and the tensions around the world, are evident in classics like Paint It Black, an eerily insistent number one hit, available on the US version of the LP.

Other classics included the jazzy Under My Thumb, where Jones added exotic accents with vibes, and the delicate Elizabethan ballad Lady Jane, with distinctive dulcimer, the wry observational Mother’s Little Helper with its unashamed lyrical drug references, and the overlooked gem – the brooding, meditative I Am Waiting.

The American edition was issued with a shorter track listing, substituting the single Paint It Black in place of four of the British version’s songs, in keeping with the industry preference for shorter LPs in the US market at the time."

"Released in April 1966 by Decca Records, Aftermath was the Rolling Stones’ fourth British studio album. It was issued by London Records in the US in June 1966. Recorded at the RCA Studios in California, it was their first album released in true stereo.
It is also one of the first ‘popular’ albums to eclipse the 50-minute mark, and contains one of the earliest rock songs to exceed 10 minutes (the blues jam Goin’ Home). The album’s release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to London Reocord’s fear of offending Christians in the US.

The album was considered an artistic breakthrough for the band, being the first to consist entirely of Jagger–Richards compositions, (after their maverick young manager, Andrew Loog Oldham, had shut them in the kitchen of their flat until they had written some more original songs!).
It also featured strongly the immaculate guitar work of Brian Jones and the remarkably wry, observant song-writing of Jagger–Richards
Jones played a variety of instruments not usually associated with their music, including sitar, dulcimer, marimbas and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. The burgeoning influences of psychedelia, Bob Dylan and the tensions around the world, are evident in classics like Paint It Black, an eerily insistent number one hit, available on the US version of the LP.

Other classics included the jazzy Under My Thumb, where Jones added exotic accents with vibes, and the delicate Elizabethan ballad Lady Jane, with distinctive dulcimer, the wry observational Mother’s Little Helper with its unashamed lyrical drug references, and the overlooked gem – the brooding, meditative I Am Waiting.

The American edition was issued with a shorter track listing, substituting the single Paint It Black in place of four of the British version’s songs, in keeping with the industry preference for shorter LPs in the US market at the time."

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

Released to celebrate tenor jazz saxophonist Eddie “Lockjaw” Davis’ Centennial, “Cookin’ with Jaws and the Queen” showcases the influential soul-jazz partnership of Eddie “Lockjaw” Davis and Organist Shirley Scott. Bringing together the Prestige albums “Cookbook, Vol. 1-3,” “& “Smokin’”.
This 4-LP set is pressed on 180-gram vinyl at RTI and newly remastered from the Original Analog tapes by Bernie Grundman. The package also features new liner notes by journalist Willard Jenkins.

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

„One day I was on a visit sitting in his kitchen and when we decided to change to the sofa in the music room, his girlfriend proposed to listen to these old recordings, as maybe I would be weird enough to like them. „Recorded in my homestudio, low budget style with a cheap microphone, a sampler, drum machines, vinyl and a few borrowed synths. … A commitment to the funk, a raw analogue sound and also a dedication to black music and its architects.“ the artist comments on it.
I immediately dug the rather short demos a lot. As I had to swallow the information that there never were real plans to release them, I later decided on the bus home, I just had to puke out a „label“. Soon I asked him to extend some of the songs and let me do some mixing and here is the album.“ Cid Hohner

An entire long-player on hair, representing the complete Illwig catalogue. Beautifully raw electronic funk. Obscure, bouncy and atmospheric. Right. This is F.B.Illwig with the first official release on Moonwalk X Records after a singlesided promo 12“ sporting the extended version of „Why Do My Hair“.

A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether.
Marlene Ribeiro’s first albumunder her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.

This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.

Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford.
It’s genesis came via a visit to Marlene’s maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal.
can be heard on the album’s first track ‘Quatro Palavras’.

“Emilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those times” relates Marlene “From that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.”

Elsewhere, a disarmingly catchy and irresistible grace is married to
a utilitarian approach to sound and texture. The ritualistic “Sangue De Lua de Lobo” (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marlene’s then-garden in Ireland, whereas on the drifting, beatific ‘Forever’ the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.

Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the
loop-driven psychedelia of Panda Bear’s Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is
very much Marlene’s alone.

“It’s all a big misty haze of nostalgia, playfulness, self-reflection and hopefulness” is what Marlene reckons herself. Yet Toquei No Sol
is also a transporting vision from an artist both returning to her roots
and looking out to new celestial horizons.

The venerable Philip Lauer (aka “Lauer”) makes his debut on Public Release this Fall with his latest EP Otto Zero. One half of T&P, another half of Tuff City Kids, and a full two halves of Lauer, we're thrilled to welcome him to the Public Release family. I’ve been rinsing his tracks in my sets over the years; a sound so recognizably his, warm and fleeting emotions — yet simultaneously cold and rigid— he masterfully toes this line. The EP is serious party music for any room, whether it be the dance floor or the kitchen... It hits wherever, whenever.

Following the success of his 2022 mod-club, soul-jazz adventure with Mick Talbot, on 27 January Acid Jazz Records will release Chris Bangs' compendium of dance-floor fillers and Latin dynamite. Chris, who coined the term 'acid jazz', has created a new solo album of 10 tracks that takes his unique spin on jazz DJ-ing and turned it to producing an album that is totally reminiscent of the classic '80s era on the UK dance scene.

Recent single 'Firebird' (Jazz FM's Breakfast show 'track of the week') encompasses a lifetime of Chris's musical influences to present a jazz-tastic smorgasbord of bossa, fusion, bop jazz funk, salsa and a myriad selection of other jazz stylings all delivered with his trademark ear for the grooves and melodies to go with it. Paying tribute to his roots, 'East Coast' is the distinctive sound of jazz-funk fusion which spread through UK clubs in the early '80s, whereas 'Dinamita's heavy duty percussion-led Montuno Salsa groove tips its hat to the sound of '70s NYC via Puerto Rico.



Elsewhere the album features a tough Batucada rework of Dom Um Romao's 'Kitchen (Cosina)', the bossa of Cal Tjader's 'Samba Do Sueno', Brazilian disco funk-jazz 'Sambara' via the epic samba fusion 'Lifetimes'. Firebird features an array of in-demand and exceptional musicians, including jazz guitarist Nigel Price (Van Morrison, David Axelrod, JTQ), supreme jazz piano stylist Janette Mason (Seal, KD Lang, Robert Wyatt), trumpeter Dave Priseman (Jeff Beck, Imelda May), bassist Ernie Mckone (Boogie Back), saxophonist Simon Bates (Elvis Costello, Chaka Khan, Carleen Anderson), and fresh from his remix work with Paul Weller, vibesman Roger Beaujolais. This brilliant team of collaborators have helped a remarkable musical maverick create a truly unique and incredibly exciting album. Independently self-produced and composed, Firebird is a set of tunes better than any Chris Bangs had ever done.

Billy Nomates, the project of the Bristol-based songwriter, producer
and multi-instrumentalist Tor Maries, announces the release of her
much anticipated second studio album, ‘CACTI’, via Invada Records.
 Recorded at her flat and Invada Studios, ‘CACTI’ is a huge step up
for the artist, who received widespread critical acclaim for her
eponymous 2020 debut album, with heavy airplay across BBC Radio
6 Music and support from luminaries such as Iggy Pop, Florence
Welsh and Steve Albini.
 Though every bit as unrepentant as Billy Nomates’ debut, ‘CACTI’
comes from a much more exposed place and sees Tor further
develop her instinctive, inventive songwriting and production.
Unafraid to wade into the traumas of the past two years and the eerie
sense of apathy that lingers, alongside heartache and more political
themes, the 12-track collection openly confronts uncomfortable truths,
as Tor puts it, “70-80% of being bold is about being vulnerable as
hell.”
 Maries said: “Writing ‘CACTI’ took just over a year. I wrote very
intensely and then none at all. (This seems to be the way I work
best). I picked up old drum machines, mapped out things in my
kitchen with the same small micro keyboard I always use and then
raided the cupboards and rooms at Invada Studios, to play and
experiment with old synths, an upright piano, this weird organ thing. I
hope everyone finds their own narrative in ‘CACTI’. I think it’s about
surviving it all.”
 ‘CACTI’ features ‘blue bones’ and ‘balance is gone’, both of which
have been playlisted at BBC 6 Music.

7" Black Vinyl in Fold-out Concertina Sleeve, 500 copies only. An anachronism in current times where individualism reigns supreme, Teeth Machine are a rare band knitted together through close camaraderie: a collective in the truest sense of the word, whose intricate, improvisational style resolutely resists being reduced to one single contributor. Teeth Machine found its beginnings in the close friendship and musical collaborations of Arthur Bently (saxophonist/lead guitarist) and Gray Rimmer (lead vocals/guitar). Having played together in various other projects since the age of 17 and disaffected with the music industry, the pair’s first furtive experimentations with the music that would later become Teeth Machine took place at a deliberate distance from the Outside world. This early incubation period, and the music made through endless bedroom sessions and demos recorded on laptops and tapes, became the spine of the project, fostering a sound that still retains both a precious intimacy and a large, expansive sonic scope. The band’s lineup as it stands today features long term friends and collaborators Anthony Boatright (Bass), Jamie Staples (Drums), and Ciara Reddy (Vocals/Synth). On their first self-assured, recorded offering to the wider world, Teeth Machine still bear the imprint of their origins, the band’s sound firmly grounded in the ethos of mutually weighted contribution, as well as the closeness cultivated in their early experiences, always retaining an air of uninhibited creativity and adolescent intimacy. ‘Gumball’, their first release on RaRaRok (Wulu, The Goa Express) was self-produced, mixed by Dilip Harris (King Krule, Mount Kimbie). It’s a song that conveys the tension and impossibility of communication and language, even when attempting to connect with those closest to us. Despite this, and however much the track itself bristles with an unmistakable air of friction, the listener gets the strong sense that there has not been a love lost, but rather one renegotiated, even expanded. Speaking about ‘Gumball’, Teeth Machine said: “‘Gumball’ is about the impossibility of talking. It was written during quite a chaotic period, and the lyrics came about after we had a big argument in the kitchen while trying to record a demo at the time - it tracks the madness and intensity of trying to make sense to someone you care about, or to yourself in your head. There’s a kind of antagonistic self help mantra that resonates throughout; it’s about internal and external conflict. It’s angry, but it’s also full of love too

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

The trashed hotel room and communal living depicted on the cover of the J. Geils Band's sophomore album tell you all you need know about the music, spirit, and energy spilling from within The Morning After. Shot through with raw, lean rock n' roll sparked by juke-joint blues and loose rhythms, the 1971 set comes on like the most fun, party-still-raging hangover any group in the 70s enjoyed. And now it rolls with an abandon that takes you inside the sweaty, smoky roadhouses and wall-to-wall-packed clubs the group dominated in its heyday.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 numbered copies, Mobile Fidelity's 180g vinyl LP achieves a sonic acumen that brings you face-to-face with the sextet's white-hot instrumental prowess and magnetic personalities. It's always been difficult to single out just one member of the band given the cohesive bluster the ensemble achieves as a whole, but this collectible audiophile edition allows you to do just that if you so choose, by way of superb imaging and separation. As for the band's trademark dynamics? Here, they feel like they're on the verge of exploding.

So go ahead. Twist the volume knob to the right as much as you want. You'll lose none of the focus, detail, placement, or presence no matter how high the decibels climb. The Morning After spills forth with previously unheard tonalities, ranging from the distinctive swells of Seth Justman's slow-burn organ to the live-wire spark of Geils' own downed-power-line-jumpy guitar work to the mooring hi-hat/cymbal/snare combinations of arrangement-steadying drummer Steven Bladd. Friends, this is raw rhythm n' blues, this is how it should feel, and, man, this is how it should sound.

Not for nothing did the Massachusetts-based collective name the album The Morning After. The music within doesn't abide by rules, ignores speed limits, flips the bird at curfews, and digs deep down into America's blues roots to yield organic material at once fresh, exciting, traditional, and original. The back-porch punch provided by the combination of "Magic Dick" Salwitz's searing, melodic, snake-like harmonica and vocalist Peter Wolf's animated, barely controlled deliveries is alone enough to make anyone with a faint pulse to stomp their feet, climb atop a kitchen table, and kick their boot heels until the neighbors call the cops.

Just witness the deceptive smoothness of the snake-like "So Sharp" or Maxwell Street zest of the aptly titled Magic Dick showcase "Whammer Jammer," which will leave you gasping for breath before it even ends. J. Geils Band also knew its way around deep-cut soul. The ensemble's Top 40, howling, adrenaline-to-the-heart rendition of the Valentinos' "Looking for a Love" and swirling, romantic take on Don Covay's "The Usual Place" seamlessly balance drive and emotion. Coupled with rafter-shaking originals such as "Floyd's Hotel" and the riff-propelled "I Don't Need You No More," sent up with typical Wolf vocal flair, and the record parks the band's all-night festivities and go-for-broke attitudes right on your front lawn.

One last word of warning to the uninitiated: The Morning After is not the slick-pop J. Geils Band of "Centerfold." And that is a very good thing.

Genre : Indie / Pop-folk The New Yorker Adam Green’s 11th and latest solo album, That Fucking Feeling, continues his musical explorations with longtime collaborators Loren Humphrey, James Richardson (MGMT), and Jesse Kotansky. The album places large-scale 'Wall of Sound' style productions alongside home-recordings done during COVID quarantine. Adam Green was touring in Europe in 2022 spring, and will tour in USA in November. When talking about the title track, Adam says: “I wanted to release something home-recorded. Back in the Moldy Peaches days I used to record everything on my parent’s kitchen table, but it’s been 20 years since I put out something like that. I wrote a few songs in quarantine singing into my laptop, and I like how direct it feels. Not every song has to be big, this is just a little song that felt like a sweet moment captured. I think of myself as a singing man, maybe that’s how I’m most comfortable in life” Tracklist : 1. Black Out / 2. That Fucking Feeling / 3. Red Copper Room / 4.Bitter Hearts / 5. All Hell Breaks Loose / 6. What's her face / 7. Dreidels of Fire / 8. Black Out (accoustic) / 9. What's her Face (accoustic) / 10. Little Failure

The Person is back on the dancefloor and she brought the delicious Australian version of a good old Italian recipe - ITALOZ DISCO. Mouthwatering rhythms spiced with everyday hustle, cosmic boogie and the extra dose of synthesizer! Changing the Meatballs for Oddballs to worship the Magic $ properly. Sull' alto lato (aka on the B-Side) we're changing the Oddballs for the Mothballs as the one and only Hysteric warms up the magic ragout in his unique steam-powered kitchen. Now go to work!

You still need to be convinced? Take these great lines by Patrick:
"Magic $" beams into the discotheque direct from deep space; a shimmering body of squelching bass, nebulous pads and snapping percussion which hosts Minna's bewitching vocals. The arch delivery and vintage sequences flirt with kitsch, but that playful genius particular to The Person pushes this into wonderfully wonkier territories. Basslines climb, keys collapse and the whole thing chugs and bubbles through a flawless arrangement. We thought they didn't make them like this anymore, but we were wrong. Stepping in on remix duty, renowned (Moth)baller Hysteric turns out a treatment that's worth a million bucks, boosting the bottom end with an acidic sequence, supercharging the percussion and punching in some strange sampler fun to guarantee utter club chaos.
Every superhero needs a theme song, and "The Person" sees Minna step away from the dancefloor to deliver a synthetic ballad for lucid dreamers everywhere. Jamming on top of a malfunctioning Jomox, Minna channels chimes, piano and a gentle chug into the classiest chord progression this side of Mike Francis. Closing cut "Go To Work" gives us neon lights and nighthawks as The Person indulges in a little Antipodean electro, proving once and for all that Australians Do It Better.

4 Cuts Placed In "A First Quarter", the companion piece to Solos, is the sonic result of a collaboration with artist Lawrence Weiner. As Landry remembers, “I was working for Keith Sonnier at Castelli Gallery and met Lawrence. He asked ‘can you make a video for me?’ So we did "To and Fro..." At some point he was working on "A First Quarter" (1973) and wanted me to do the music. I said ‘I already have the music.’ He said ‘what do you mean?’ I had recorded several pieces with Kurt Munkcasi and walked around the set playing the music on a boom box.”

The set features one solo each by Landry and contrabassist Rusty Gilder, a duo for the tenor saxophones of Landry and Richard Peck, and an ensemble piece for Landry, Peck, Gilder, trumpeter Robert Prado, and drummer David Lee, Jr. Starting the record off is “Requiem for Some,” inspired by Gil Evans’ long, placid tones. The anchor is Lee’s dry cymbal attack and fancy footwork, dancing around overlapping and recombining horns, chords held just shy of splintering. “4th Register” is a grainy delayed solo tenor piece, presaging “Kitchen Solos” from Fifteen Saxophones by several years. “Piece for So” was, according to Landry, “a chance to give Rusty a solo”. Mostly known as an ensemble bassist, Gilder bounced between Lafayette, Charlotte, and New York, leaving a slim recorded legacy. Here, he stretches out for twelve minutes and change – with keen upper register detail and meaty up-tempo walk, he could have been mentioned in the same breath as players like Dave Holland and Barre Phillips. The closing “Duo Vivace” finds Landry and Peck sparring on tenors, the latter holding a melodic line while Landry leans into explosive glossolalia, until both become birds in flight.

Born and raised in the piney woods outside of Haynesville, Louisiana, Chris Canterbury comes from the grimy remnants of a small oil patch town, a way of life that is slowly fading but still lingers in the songs he sings. Born to a working-class blue-collar family, Chris struggled to find the middle ground between his grandfather’s Southern Baptist sermons and the honky-tonk mystics that he discovered on old vinyl records in high school. Armed with an old thrift-shop guitar, Chris began playing and writing stories about life from a unique but oddly familiar point-of-view. Songs about liquor stores, truck stops, low-rent motels, and the grifters and transients that frequent them. It doesn’t matter if it’s a pool hall or a theater, a festival or a front porch, Chris’s live sound is the whiskey-laden prospectus that anyone with a struggle can relate to.

500 copies on limited purple vinyl

By The Sea come from the lineage of firework pop, bursts of colour and squeeze-your-hand intense love aligned with grey skies & work things.
Recall the first time you heard The Chills’ ‘Pink Frost’ or Television Personalities’ How I Learned To Live The Bomb’?
That’s the encounter.

Liam Power formed By The Sea in 2011, the band’s debut single Waltz Away coming out on The Great Pop Supplement label that year. In November 2012 the band released their self-titled album through Dell’Orso and GPS. The NME noted how there was “a beautifully bruised element to this Wirral act’s debut from the subdued, morbid production to Liam Power’s heroically battle-weary vocals”.

They have also often been tagged for their kitchen-sink dramas though they’re more akin to something like ‘Wish You Were Here’, both funny and dark without being maudlin. There’s an end of pier melancholy to By The Sea records though, something more than a scribble of sentiment on a souvenir postcard.

For their second LP ‘Endless Days, Crystal Skies the band turned over production duties to their friend Bill Ryder-Jones (formerly of The Coral) and released that bounty of melodic pop in 2014. It’s a partnership they have retained for the new third album ‘Heaven Knows Magnolia’ released on limited purple vinyl, CD and digital formats on October 21st. The song

Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe. As part of that legacy, "Africa 5.000" (1975) has a legendary reputation as one of Discos Fuentes' best hard-to-find Afro Caribbean funk records and is a highly prized collector's piece. This LP features several classic dance floor gems as well as some lesser-known nuggets and a non-album bonus cut, plus informative notes. "Africa 5.000" (1975) has a legendary reputation as one of Colombia's best hard-to-find Afro-funk records and is a highly prized collector's piece today. The epic 'La torta' ('The Cake') kicks things off with a lively Colombian interpretation of Haitian compas. The tune is still remembered as a big picó (amplified sound system) hit at the verbenas (outdoor dance parties). 'Fiebre de lepra' ('Leprosy Fever') was also released as a 45 single and is certainly one of Wganda Kenya's wilder tracks. Funky wah-wah guitar, makossa style bass, manic organ, and feverishly insane vocals (from Wilson "Saoko" Manyoma and Joe Arroyo) indicate that Fruko and his pals were having a ball goofing around in the studio. If for no other reason, "Africa 5.000" is sought after for being the album containing Fruko and Javier García's outrageously funky and off-kilter 'Tifit hayed', which has become a tropical dance floor favorite in recent years. Again the "kitchen sink" approach is employed, including massive Latin bass lines, tasty Farfisa organ stabs, a bluesy, jazzy piano solo, and plenty of humorous vocal sound effects (including animal noises and lip burbling). However, it's the stomping break beats and cowbell counterpoint that has kept dance floors busy. Side B leaps out of the speakers with the heavy, strutting 'El caterete', which was the flip side to the 'Fiebre de lepra' single and is based on the 1970 song 'Cateretê' by Brazilian singer/songwriter Marku Ribas. Like its sibling Fuentes studio band Afrosound, Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe, and this reissue of "Africa 5.000" will only serve to further cement the band's growing reputation amongst today's diggers of tropical psychedelia. First time reissue.

Rare Americans 3: Jamesy Boy & The Screw Loose Zoo is the third installment of the "Rare Americans" album series by the genre-bending Vancouver punks, Rare Americans. Helmed by bandleader, James Priestner, the band consists of fellow songwriter and brother Jared Priestner, Slovak guitarists Lubo Ivan and Jan Cajka, and drummer Duran Ritz. The four piece band experiments not only with a new character-driven universe but its widest variety of instruments to date. The album features the singles "Rhythm Kitchen (feat. D Smoke)," "Baby Boy," & "Walkin' n Talkin'," each accompanied by their own self-produced animated video. This is an invitation to walk into Rare Americans' world of colorful characters and stories – So what are you waiting for?

In the kitchen of the Byron Bay home of Winston McCall stands a
refrigerator, adorned on one side by a quote from Tom Waits: "I want
beautiful melodies telling me terrible things."This, the PARKWAY DRIVE
vocalist says, is a pretty good summation of himself
It holds true, too, as one of the guiding principles behind Darker Still, the seventh
full- length album to be born of this picturesque and serene corner of northeastern NSW, Australia, and the defining musical statement to date from one of
modern metal's most revered bands.Darker Still, McCall says, is the vision he and
his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O'Connor
and drummer Ben Gordon – have held in their mind's eye since a misfit group of
friends first convened in their parents' basements and backyards in 2003. The
journey to reach this moment has seen Parkway evolve from metal underdogs to
festival- headlining behemoth, off the back of close to 20 gruelling years, six
critically and commercially acclaimed studio albums (all of which achieving Gold
status in their home nation), three documentaries, one live album, and many,
many thousands of shows.
While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically
standing shoulder to shoulder with rock and metal's greats – Metallica, Pantera,
Machine Head, Guns N' Roses – as much as it does their metalcore
contemporaries. "I wanted a classic guitar tone for this record," explains Ling, who
credits much of his inspiration to the connection his riffs have with a crowd in a
live setting.
Emerging from the darkness of the past few years, this is the true face of
PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.

The ‘A Day At’ concept, from Parallelle, started in 2017 when they were helping their uncle in his leather factory, manufacturing belts. The variety of melodic sounds during the manufacturing process, from small tools to big machinery, quickly became the soundtrack to their day and the inspiration behind their very first song – The Factory.

Little did they know it would lead them on a sonic expedition to explore places where unexpected sounds became the centre of their musical pieces. A carpentry, a ski station, a supermarket, an airport, or a kitchen were their creative playground. The sawing of wood, the chopping of carrots, the rustling of plants, the click of a ski-shoe and the shaking of quinoa are just some examples of sounds that inspired their creativity.

After years of gathering sounds and composing the basis of their album. They teamed up with conservatorium musicians Nicolo Ricci on Sax tenor, Alessandro Mazzieri on Base and Simone Cesarini on Guitar who helped them sculpt the final touches to the album.

A fusion of jazzy vibe with concrete sound recording and electronic elements is the foundation of their first album “A Day At”

Brighton-based Harry Smith's debut release as Thought Trails sees him capture breaks and garage at its most contemplative potential. Whether it's through broken drum phrases, acid melodies, dark garage atmospherics or ice clips borrowed from grime, 4AM EP skillfully builds moods without sacrificing an inch of danceability.

Dirtiness and Divergency
It's a mystery what the handwriting of an artist is made of. What are the ties between artist and art? Why do we recognize the sound of a music producer even if they suddenly create music of a differnet genre?

On his new album "Kiss Dance Kiss" F.S.Blumm remains unmistakably himself, even if he assembles dub- infected, saturated, overdriven instrumental tracks. It may be his signature guitar sound, the disarmingly straightforward melodies, or the irresistible groove: This groove is compelling but unobtrusive. Three, sometimes four notes create timeless melodies.
F.S.Blumm unleashes his love for beats and dub by allowing the bone-dry riddims to dive deeply into the genre typical echo-chamber, combined with sweet guitar arpeggios and melodic basslines. These are friendly dub monsters. It doesn’t all fit seamlessly into the homogeneous sound. Take "Nimbb" with it's angular electronic groove, devoid of any melody, or the surprising horn timbres on "Twistert".

As with all of Blumm‘s works, there is a familiar intimacy even within big echo chambers.

His music searches for the sweet spot. He waits for the right time to record a piece, allowing for the exact degree of maturity of an idea, the magical moment when guest musicians meet, the collision between a well-planned process and happy coincidence. Finding the perfect spot for microphone placement, walking the fine-line between too slow and too fast, pinpointing the right delay-time are all inherent in Blumm's craft. It is a music full of these fragile constellations, interferences and synergies.

The concept of 'composition through duplication' is repeated visually on the cover:

Repetition creates blur and noise. Patterns rub against each other. Sound waves flutter in the wind. A simultaneous sunrise and sunset indicate the search for the perfect overlap.
Each track acts like a rhythmic serving suggestion for individual dance moves. Music for the daily dance around the kitchen table. A lookbook for kraut-dub, analog-electro or adult-instrumental-pop.

.. and now out into the sun.

Lampen is Kalle Kalima and Tatu Rönkkö. Kalle plays guitar, Tatu plays percussions and sampler. Together they're Lampen, a duo making highly addictive "post jazz" with a musical heart far beyond genre. Call it what you will, but the main point is listening, and there's a high season for that coming as Lampen is set to release their debut album on We Jazz Records on "Kintsugi Gold" vinyl and digitally. Previously a CD only release (Karkia Mistika Records, 2020), "Lampen" presents two artists who have a knack at making music which opens up with each listen, pulling you deeper and deeper. Meditative passages flow by slowly as in a peaceful river stream, erupting into full rapids of sound when the time is right. This is sonic rafting for the curious listener.

Tatu Rönkkö (b.1983) is a Finnish percussionist and drummer who has been active in the experimental music scene of Helsinki and Berlin during the past ten years and has toured Europe, U.S. and Asia extensively. He is a forming member of Liima (DK/FI) and has performed with such artists as Ilpo Väisänen (Pan Sonic), Samuli Kosminen (Múm), Jimi Tenor, Nils Frahm, Efterklang, Raoul Björkenheim, Elifantree and Islaja. Rönkkö has been playing improvised solo concerts in people's kitchens ("I Play Your Kitchen") using only kitchenware found in each home as instruments.

Kalle Kalima (b. 1973 in Helsinki, Finland) has worked with trumpeters Tomasz Stanko and Wadada Leo Smith, sax players Juhani Aaltonen, Anthony Braxton, bass players Greg Cohen and Sirone, guitarist Marc Ducret, composers Michael Wertmüller and Simon Stockhausen, pianists Jason Moran and Hans Lüdemann, drummers Jim Black and Tony Allen and singers Andreas Schaerer, Linda Sharrock as well as with Ensemble Resonanz and Jazzanova. Kalima has composed orchestral music for Opera Lyon, Ensemble Resonanz (Chamber Ensemble of Elbfilharmony in Hamburg), String Trio of Munich Symphony, NDR Big Band, Umo Big Band and Jousia Ensemble among others.

After Dinner’s Paradise of Replica is a concise nugget of tomfoolery that occupies a whimsical no man’s land between art pop, Japanese folk music and full-assed Art Zoydian avant proggery. Gentle, arcane and covertly sweeping, it typifies that friendly strain of experimentalism that Eastern music seems so predisposed towards and which curious minds find such great delight in.

Assembled by the enigmatic chanteuse and composer known simply as Haco, After Dinner was less a band and more of a loose art collective that utilized a plurality of different musical disciplines stapled together through free improvisation sessions. And some of this does come through on Paradise of Replica—the record is a scrapbook of bells, strings and koto humming under Haco’s ethereal vocals, and the effect, while perfectly tuneful, does come off more as a musical project than a conventional album.

But Paradise of Replica is far from an impenetrable scholastic endeavor—in fact, there’s something of an Elephant 6-like quality in its ability to warp conventions while still coming off more or less like pop music. Counter to the ramshackle hostility of much improvised music, After Dinner’s choices are melodious and feel deliberately sequenced. Even crescendos don’t tend to rise above a murmur, and there are even apparent hooks on tracks like “A Walnut” and “Ironclad Mermaid.”

Ultimately, there’s not much to be said about Paradise of Replica that can elucidate more than actually hearing it will be able to. Proggy, playful and lush, it’s a brief glimpse into something in the vicinity of genius, and just outside the realm of commercial music. It’s a quietly bold project that shows a softer side of the avant-garde, and makes a perfect companion to Stereolab and Magma at once.

Back in stock !

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

In late 1961 Spector formed Philles Records with Lester Sill, buying his mentor out the
following year. The slogan was ‘Tomorrow’s sound today’, and Phil Spector proceeded to live
up to that boast. Three-track tape machines were then state of the art, and he perfected the
method of ‘bouncing’ the tracks to get the biggest possible sound. As time went by, his ‘twominute symphonies for the kids’ would be increasingly gilded by his ‘everything but the kitchen
sink’ production including Strings, Percussion and banks of Vocals. Spector gained his
second U.S. chart-topper and his first as a Producer in 1962 with the Gene Pitney penned,
He’s A Rebel. Spector became increasingly obsessed by the production process. ‘My records
are built like a Wagnerian opera. They start simply and end with dynamic force, meaning and
purpose. I dreamed it up.’ He retired from the music business, returning only sporadically to
work with first The Beatles (their Let It Be album, plus solo LPs by George Harrison and John
Lennon), plus a handful of other artists including Dion, Cher and the Ramones.