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Tai Chi Tommy steps out of the crypt to deliver his sultry crooner tones in a collection of Halloween themed doo-wop and garage psych songs live from the Sad Souls Social Club. drawing from the likes of Roy Orbison and The Platters, mixing lush and pleasing melodies with voodoo lure and a 50’s twang.

Love songs for Zombies, Vampires, freaks, geeks and the Strange & Unusual.

Brand new album finally on Vinyl, All songs composed, produced & mixed by IV Horsemen Mastering at Dadub Studio by Gian Artwork & all music video by Timothée Gainet,

Sampled by Jay-Z and Dr Dre, Italian band Calibro 35 announces the release of the new album NOUVELLES AVENTURES. The album will be available abroad on limited edition Crystal Clear vinyl next June 30th via Record Kicks.

Italian cult cinematic combo Calibro 35 are back with their new studio album NOUVELLES AVENTURES. The new album will be available abroad on a limited edition Crystal Clear Gatefold LP on June 30th, distributed worldwide via Record Kicks. The crystal clear vinyl edition is a Record Kicks exclusive and is limited to 1000 copies, which makes it an instant collector's item.

After last year's Scacco Al Maestro, the 2 tribute-albums dedicated to "il maestro" Ennio Morricone, followed by the "Calibro 35 plays Morricone" tour and the releasing of the ost of TV drama series Blanca, Calibro 35 are back with NOUVELLES AVENTURES, a new studio album of original material. NOUVELLES AVENTURES was recorded in Naples at Auditorium Novecento, the former Phonotype Records, one of the most legendary and fascinating Italian recording studios. The new LP sees the group making full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

"After a couple of intense and stimulating years playing Morricone and writing music for the TV drama Blanca", Calibro 35 said, "we had a great desire to make new inspired music. To do so, we left home and we shut ourselves up in the splendid space-time capsule that is the Auditorium Novecento studio. The result is a series of musical voyages in which we concentrated all our artistic and human experiences. As in Verne's imaginary and extraordinary journeys, we explored distant places where we had never been before. We then happened to return to more familiar shores and discover them with new eyes without realizing it. We borrowed the title NOUVELLES AVENTURES from György Ligeti, precisely because after fifteen years of building ourselves, we are ready for new adventures".

NOUVELLES AVENTURES was anticipated by the first extract "EXTRAORDINAIRE", an almost 6-minute song that once again confirms the band's aptitude for the exploration of unpredictable sound territories: a music that, on one hand sounds liquid and abstract, while on the other, it cuts through the psychedelic mists, with a complex architecture.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others: PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré.

The Belgian vibraphonist Guy Cabay has played with Toots Thielemans, Philip Caherine or Raoul Faisant. Composer, arranger, musicologist and singer, he also wrote and recorded two extraordinary albums in Liege Walloon. Tricatel is happy to make them available at last, 46 years after their publication.

"Gravity kills us. Perhaps that is the meaning of Adam's Fall. We are condemned to be Newton's apple, not the balloon carried away by the wind. But it happens nevertheless that, by the grace of music in particular, we escape gravity, that time escapes time, that another breath inflates our lungs, so much lighter than the one that usually suffocates us.

We don't take light music seriously, and that's good. Only serious music deserves to be treated so badly. Guy Cabay's music flows from a purer source and speaks to us in a more tender voice. One can obviously describe it as one labels export product. Origin: Belgium. Ingredients: jazz, bossa nova, tropicalism, song - proportions may vary. Calorific value: none.

Non-perishable product. But this would say as much about what this music really is as if, in. order to evoke what the foggy blue of a Norman sky inspires, one were to take note of the variations in the percentage of humidity in the atmosphere at Etretat and make a learned presentation on the laws of refraction.

Guy Cabay did pass through Brazil and still lives there a little, a Brazil that is not the one ofcartographers or travel agencies, a Brazil that is as real as the Far West in which Fenimore Cooper's child readers lived, as blurred and limpid as a dream. It is not the Amazon thatflows through this Brazil, but the Ourthe, a tributary of the Meuse, which makes it morefamiliar, stranger and even more poetic.

To let oneself be bathed in this melancholichappiness, to let oneself be carried by this river is sweet, as sweet as the fluid consonants of the Walloon language, this 'd' which becomes 'dj' in his mouth, as in Portuguese, by the way. To know how to create melodies that hold on a note like Jobim's samba, like a fildeferist above a waterfall of chords, is not given to everyone. It is a gift. Knowing how to lace others on dozens of points, as on Tot a-fet rote cou d'zeur cou d'zos, a poignant encounter between Randy Newman and Robert Wyatt, is another. These are not the only ones that the fairies offered to Guy Cabay and that, by an almost miracle, he offers us again today. Hearts up."

Bertrand Burgalat

Bollywood rarities handpicked and remastered on a double LP release with laminate gatefold and multi-layered flower petal foldout. Featuring rare, overlooked or not-previously-on-vinyl music from Bappi Lahiri, R. D. Burman, Ilaiyaraaja, Kalyanji-Anandji, Anand Milind, Raamlaxman and Kirti Anuraag released between 1982 and 1986. Mastered for and cut to vinyl by multi Grammy-nominated Frank Merritt at his mastering studio The Carvery.

Naya Beat is incredibly proud to present the first in our series of ‘Awaaz’ (‘sound’ in Hindi) archival projects focused on uncovering the sounds of 1980s Bollywood Original Soundtrack Recordings (OSTs). Series 1 focuses exclusively on the musical output of CBS Gramophone Records & Tapes (India) Ltd. Active during India’s peak disco era – a time when synthesisers and drum machines became a mainstay in Indian popular music – CBS India became a home for established composers to be experimental, up-and-coming composers to get their start, B-movie soundtracks, and straight-to-VHS releases.

Expertly curated by Naya Beat co-founders Turbotito and Ragz, who were given unprecedented access to the original label archives, this compilation is not just a collection of four-to-the-floor Bollywood disco (although there are plenty of those). ‘Awaaz’ is designed to take listeners on a musical journey that includes everything from leftfield electronic and mood music to outrageous proto house.

Be it classic and hard to find cuts like Ilaiyaraaja's "Aye Zindagi Gale Lagaa Le" and “Mere Jaisi Mehbooba” (Bappi Lahiri’s Hindi remake of Herbie Hancock's “Rockit”), or the instrumental mood music of Kirti Anuraag’s VHS movie soundtracks, to the proto house of Raamlaxman’s “Dil Gadbad Jhala” and Kalyanji-Anandji’s “Aage Bhi Dushman,” or the synth and guitar drenched breakdance madness of R. D. Burman’s “Dekho Idhar Jano Jigar,” the music on this compilation captures the output of a label that was unique as it was unconventional.

An homage to the genre, every detail in this stunning release has been lovingly crafted. From the laminate cover to the absolutely incredible foldout, to the cut-out and collage design, to the font type and layout, there are countless authentic details and nods to classic Bollywood releases of the era. As much of the album has been made in India as is possible. The sleeves have been handmade in New Delhi. The liner notes have been compiled by music archivist Nishant Mittal (aka Digging In India).

Wildflower is a trio comprising Idris Rahman (sax), Leon Brichard (bass) and Tom Skinner (drums).

The trio takes you on an intense, meditative and spiritual musical journey that embodies the spirit of freedom. Based around hypnotic grooves laid down by Brichard’s unswervingly solid bass lines, drummer Skinner plays around artfully with the beats, grooving hard in constantly shifting, unexpected turns of rhythmic play. Rahman’s contributions range from subtle conversational interplay to loudly expressed angry passion to the most delicate of whispers, conveying a depth of emotion and a deep sense of musical structure withIn an ever changing sea of musical conversation.

Using simple, arresting melodies as a starting point, the trio create freely improvised waves of emotion ranging from powerful climaxes to hauntingly beautiful breath-like passages and everything in-between, creating unique forms and structures that react to the acoustics and the atmosphere of the situation.

Taking inspiration from the spiritual jazz pioneers such as John and Alice Coltrane, Pharoah Sanders, Yusef Lateef and Sun Ra, compositional influences range from Gnawa music to modal jazz to Bengali folk music but the scope is wider still and the important unifying factor is the spontaneous communication and interplay between the three musicians. Rather than having a tight rigid structure, the tunes are allowed to breathe and develop into new unexplored forms, allowing fresh interpretations that make each performance a unique experience.

The album is a collection of live and studio recordings that have been recorded and mixed by the band.

"We entered the shadowy mouth of a new space, descending into a realm that precedes the underworld, the arcane, far from our time. We met beasts that gave us lessons about their language which we started learning without grammar."


'The animal world is a constant in the work of Milan improvisational duo Rosso Polare. If Cani Lenti was guided by the diaphanous birdsong integrated into their sparkling mix of folklore, ambiences and occasional humming, on Bocca D’ombra the themes go darker, textures are harder to pin down and the animal presence takes on new connotations.

Instead of an anonymous, patchworked outdoors we enter a cavernous space that invokes the collective unconscious with bestial and funereal undertones, as the animals take on the role of the psychopomps, ancient guides through the shadow realm.

The album is influenced by Timothy Morton’s Dark Ecology, a thinker who sees the constant exchange between the human and natural world as an ongoing dialogue, the two influencing each other, in a series of reverberating loops. This looping is also reflected in their compositions, where improvisations with traditional instruments like electric and acoustic guitars, monophonic synths, horns or flutes meet natural noise-making tools like branches, rocks or nuts that amount to lugubrious, often dissonant textures. Bocca D’ombra is built on a series of whispers, breaths, panting and rustling, creating a feeling of closeness sometimes verging on the claustrophobic, ingeniously set against sounds evoking space – fireworks crackling, crows echoing, church bells reverberating, indistinct cries from a children’s playground.

Distance and repetition are deeply ingrained in their own understanding of sound and their surroundings, becoming the building blocks of their practice. Just like Gregory Bateson in the ‘70s, the duo believes in a more romantic approach to ecology, seeking a porous border between self and environment, human and animal, internal monologue and external ambient hum.

If earlier releases were noisier and denser, Bocca D’ombra is tight and focused - every sound and melody is given room to breathe and develop on its own, enhancing the haunting, otherworldly aspect of the music. The result is heady, intoxicating mix which sublimates chaos into sparkling compositions of contemporary animism.'

Sonic chaotic, tender terror. On New Stone, Lithuanian producer Kamile Rimkute a.k.a. Caline with C dazes and uplifts us with her reflective post-modern electronics. This album is a personal long-term project in the making, one of auditive self-expression, treading across themes such as adventure, love, discovery and grounding.

The album is driven by Kamile's interest in futuristic boundary-crossing music and intersectional feminism, as well as her studies in Sonology. With an advanced skill for composition, sound synthesis and her knowledge on the totality of sound, she claimed the means of production, as New Stone is all produced, mixed and mastered by herself.

New Stone was recorded in a period of two years that started in 2020 and incorporates highlights of her landmark livesets ever since. New Stone is full of concocted emotion that sustains and releases through her trademark of stark contrasts - triplet-driven, jolted yet angelic atmospheres - resulting in a tangible, body-driven sound.

Interweaving her vocals near the final salvo, this album marks the end of a creative cycle and start of a next, allowing her personal touch to seep through her art more and more. Embarking from home ground, stepping on a new stone.

Legendary Memphis soul brothers William, Bertram and Randy Brown released an album under the group name TEN-63 entitled FACING THE MUSIC, it was published in 2009, but recorded sometime earlier. YOU AND ME was played out and initially covered up by Mike Ward circa 1989/90 receiving cult status.

YOU AND ME and our pick for the flip SAY WE’LL STAY are beautifully constructed songs with each of the Brown brothers serving up a solo part, it cannot be denied their contrasting vocal styles and harmonies are supreme in the extreme!

The Browns’ contribution to the Memphis music scene is etched in history. William, who sadly passed away in 2015 was a member of The Mad Lads. Randy and Bertram were members of The Newcomers, Bertram went on to be a part of soul funk group Kwick and of course Randy had a glittering solo career with LPs on Parachute, Chocolate City and Stax as well as numerous singles; he is regarded by many as being one of the finest vocalists of his genre.

Richard Lamb’s second and (presumably) final release under this moniker is a bit of a special one. Lamb starts off with ‘Salt Lick’. A track with beautiful, lush, sunny sounds that lure you into an unexpected world of electro, heavy bass and more dance orientated tracks like ‘A Life In Harmony’.

Following up his first EP ‘Automatic Tango’ on his own Montreal based Temple imprint, there’s still hints of early Moog greasiness but overall it’s a more decisive production compared to the previous one. Intricately layered percussion mixed together with dreamy pads take you on a journey to a hidden Utopia where tight arrangements and tribal-esque rhythms dictate the pace. Once more we are shown how versatile Lamb’s productions are and how he juggles genres freely, ranging from dub to electronica, experimental, idm and techno.

The second side of this EP features two remixes by non other than Norwegian DJ and producer DJ Sotofett. A heavyweight in the electronic music scene who needs little introduction takes on the EP’s title track ‘A Life In Harmony’ and turns it into two electro-acid pieces ready to tear up any dance floor, or anything else for that matter. Surrender to the acid and indulge in these masterful tracks.