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CHRIS CLARK
Ms. Clark is often cited as the Dusty Springfield of Motown, a white soul singer with a black Southern voice. And she is no stranger to the Northern Soul scene with songs like “Love’s Gone Bad”, her version of Frank Wilson’s “Do I Love You” and the unreleased “Something’s Wrong”. But Clark’s Motown legacy continues surprise with the 2018 discovery – “Whenever I’m Without You” – originally recorded in 1968. Finally making its vinyl debut 55 years on!

THE TEMPTATIONS
The Temps need no introduction, they were, of course, Motown’s most successul male vocal group scoring 18 No.1 R&B/Hot 100 singles and 3 Grammy’s. “All I Need Is You Love To Me” is another 1968 recording that eluded release at the time and is one their best, how could this slice of Motown magic escape. Finally making its vinyl debut 55 years on!

Angelo is an LP, named after a car, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds percussionist/singer Brijean Murphy and multi-instrumentalist/producer Doug Stuart processing the impossible the only way they know how: through rhythm and movement. The months surrounding the acclaimed release of Feelings, their full-length Ghostly International debut in 2021 which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy’s father and both of Stuart’s parents. In a haze of heartache, the duo left the

Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo’s sessions presented Murphy and Stuart a chance to record at their most intimate, “to get us out of our grief and into our bodies,” says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal — a resourceful, collective answer to “what happens now?”

Angelo the car is a 1981 Toyota Celica they got off Craigslist during their first stint in Los Angeles, where Murphy and Stuart have since settled. “Such a bro-y, ‘80s dude car, it’s been super fun to drive around in a new town,” Murphy says. “He’s older than us, he’s a classic, he’s got a story.” It is a spiritual vehicle with a cinematic appeal, first dropping them off in an alleyway for the scene-setting intro, “Which Way To The Club.” The question is quickly resolved by “Take A Trip” as a cruising bassline mingles with crowd sounds, hand-claps, cuíca hiccups, whip-cracks, even a horse neigh. Brijean have found some club on this cross-dimensional trip — the kind of

imagined space or chamber within one’s self capable of “shifting a fraction of who you are,” says Murphy. They wrote the track with the simple intention to be “as free as we could be,” adds Stuart, likening the flip on the B section to a realm unlocked: ”What if the world changed completely? You open the door to a new room.”

Next is “Shy Guy,” a motivational anthem for the wallflowers among us. Murphy sets up the daydream: “We are in junior high, we’re on the dance floor, what’s going down, who is dancing, who is not, how are we gonna make them dance?” The narrator, the MC, hypes up the room as conga-driven rhythms bounce between languid synth and guitar lines. “Show me how to move...I feel something...I know you feel it too,” Murphy sings sweetly, calling back to the opening lines of Feelings, and this time the audience chants it back. It is easy to picture Brijean performing this one — something they only got to do a handful of times until more recently, opening shows for Khruangbin and Washed Out, an experience they found informative. Murphy explains, “It was inspiring to be out there and let loose more. To see how people can expand their expression on stage gave me more liberty with how I viewed my musicianship. My role for so long was to be a backup percussionist, so why would I ever leave the drums, you know? But then after playing all these runs, you see these artists and realize you can, you have permission.”

“Angelo” and “Ooo La La” deliver the danciest stretch in Brijean’s catalog to date. The title track adopts a deep house pulse replete with strings, hi-hats, and kicks. The latter opts for a funkier groove that foregoes verses in favor of warbled hums and extended breakdowns. What follows is perhaps the duo’s dreamiest run, a comedown initiated with the honey-hued interlude “Colors” drifting into “Where Do We Go?”, a tropicália reverie where Murphy contemplates the passage of time and space.

It all culminates in “Caldwell’s Way,” a fond farewell to their Bay Area community — “a part of my life that I knew couldn’t come back,” says Murphy. Above shimmering organ sounds, lush strings, and the birdcall of their former neighborhood, she wistfully articulates the uncertainty of moving on by remembering the characters dear to them. There’s the wisdom of their neighbor, Santos, who refused payment when helping them move out: “I’d rather have 100 friends than 100 dollars.” And the song’s namesake, Benjamin Caldwell Brown, a friend and club night cohort for many years. “I’m only miles away, maybe I’m just feeling lonely,” the line resigns to warm nostalgia, and “Nostalgia” runs the closing credits to this healing and transportive collection.

A lost MPB gem from rural Finland! We Jazz presents the first ever reissue of this rare 1990 local release by Brazilian duo Rosanna & Zelia. 7" EP with inside out 3mm spine sleeve. RIYL: Gilberto Gil, Joyce, Musica Popular Brasileira, bossa nova, bossa jazz

Liner notes by Mikko Mattlar:

"Rosanna & Zélia were a Brazilian duo of singers and musicians Rosanna Guimarães Tavares and Zélia Nogueira da Fonseca. They moved from Minas Gerais, Brazil to Europe in 1988, released five albums in Germany between 1993–2004 and featured vocals on an Ian Pooley house track Coração Tambor before Rosanna died of cancer in 2006. Zélia still continues her career in Germany, touring actively and releasing new music.

The duo's journey from Brazil to Germany also included two brief visits to Finland. In the years 1989–1990, they spent time in the small town of Seinäjoki in Ostrobothnia. Rosanna & Zélia performed Brazilian music in Finnish clubs and festivals and recorded a 7" EP for local label Maumau Music. The record was distributed mostly in the Seinäjoki area, but the three songs are well-performed and authentic Brazilian MPB, so the largely unknown record now gets its first reissue for a wider audience on We Jazz Records.

But how did two Brazilian women find their way to a small Finnish town to record an EP? The main reason for this was music journalist and promoter Risto Vuorinen, who was on a holiday in Albufeira, Portugal, where a friend of his lived. The streets were almost empty that evening, but Vuorinen and his friend heard fine guitar playing and singing from a bar. There were Rosanna and Zélia performing on a small stage, and the two Finnish men happened to be the only customers. When the artists ended their performance, Vuorinen's friend, who spoke Portuguese, went to talk to them. Rosanna and Zélia told him they had recently come from Brazil and are trying to gain ground in Europe with their music.

Because Rosanna and Zélia didn't know where they would head next, and because Vuorinen liked their music, he thought of bringing the duo to his hometown, Seinäjoki. They immediately liked the idea, and in the autumn of 1989 they arrived in Finland. The national Finnish jazz festival was held in Seinäjoki, and Vuorinen thought Rosanna & Zélia's Brazilian music would fit right in. They performed at the festival and in November 1989, also made recordings in a local studio with backing musicians from Seinäjoki.

Music enthusiast Pertti Hakala had a record shop and label Maumau Music in Seinäjoki releasing music from local artists. He released a three-track EP from the sessions. with two tracks written by Rosanna & Zelia themselves and their cover version of Extra (Brazilian Reggae), written and originally performed by Gilberto Gil in 1983. A small pressing was made for the Finnish market, and Hakala also sent a box of records to Brazil, but for some reason it was sent back.

After their first visit to Finland, Rosanna & Zélia headed back to central Europe, but Vuorinen decided to organize more performances for them for the next summer. Maybe he also wanted to show them the beautiful Finnish summer, as Rosanna and Zélia had so far seen the country only during the darkest autumn. The duo came back to Finland for the summer of 1990 and performed at the Womad world music festival organized as a part of local Provinssirock. They also played in Nummirock and Puistoblues, both respected music festivals, and performed on TV in Helsinki.

Rosanna and Zélia lived in a small apartment in Seinäjoki and played two to three gigs per week all summer. Because there were only two of them, even small pubs could afford to book them, and in 1990 the economic situation in Finland was good. It was before a major economic depression hit the country. The duo travelled by bus or train, and because they were an acoustic duo, they could easily carry their instruments in public transport. Vuorinen got excellent feedback from organizers. Rosanna and Zélia were good performers, but also really nice people.

With the income from their summer gigs, Rosanna and Zélia could buy a PA mixer and other musical equipment. When the summer 1990 turned to autumn, they continued their journey from Seinäjoki to Germany where they settled down."

One of the greatest soul voices working in the US today, Billy Valentine's latest release, first plotted out in the summer of 2020, sees the artist responding to the chaos of a global pandemic and the seismic impact of George Floyd's murder via legendary works from Curtis Mayfield, Gil Scot Heron and Pharaoh Sanders. In collaboration with acclaimed producer and songwriter, Bob Thiele Jr. (son of Flying Dutchman founder, Bob Thiele), Valentine's rich, velvety vocals breathe new life into these already-powerful tracks, bringing them into the contemporary political context with renewed urgency. Released on Acid Jazz in partnership with renowned US label Flying Dutchman, Valentine's latest output marks the first new music from the label since the '70s - a momentous return for a keystone tastemaker of the American jazz world.

Arp Frique returns to the scene with a new album after a string of releases, leaving the cratediggers and dancefloor tastemakers with underground classics like Nos Magia, Voyage and Nyame Ye. On ''Analog People Digital World' he embraces the digital coldness of Yamaha’s classic DX7 synthesizer to create a refreshing listening experience using only the FM synthesis-based sounds from this machine to find new heat for an analog world, reflecting on the digital revolution we are living through. The album features Ghanaian songstress Mariseya (Omampam, Jah Kingdom, Digital World, Roi Salomon), Cape Verdean OG Americo Brito (Go Now Wetiko) and Surinam funkstar Sumy, who joins the record on the opening track “Spiritual Masseuse”. Arp Frique closes the album with “Duncan Truffle”, a very intense and wobbling instrumental echoing Bootsy and Bernie Worrell on a solo exercise. Expect an analog-digital exploration of lofi funk, highlife, zouk and reggae. Does that DX7 sound hot or cold to you?

Two years after their previous effort, regular as clockwork, Swiss throbbing synth pop duo Veil Of Light is back with a new album and what can we say? These guys keep on getting better and better.

If you have followed the Zurich-based outfit over the past few years, you must have noticed the constant moving towards 80’s FM new wave and synthpop tones – without losing their electro/body music outline – that have marked the band’s parable, especially since their latest Landslide LP.

Sundancing is their sixth full-length and it stays the course, bringing what we’ve just said to the next step. Nine new dancy and bright tunes with emotional depth that blend lush instrumentation and robust rhythms, guided by funky and rubbery basslines. Syncopated rhythm sections match suburban cool synths in the lead single Apricot Kiss and Hypersleep, while Raindancing and Tonight summon a sinuosity long gone since the mid Eighties. The musical backdrop here serves as the fundament for emotional vocals delivering lyrics dealing with the fragility of love, joy and loneliness.

There’s some subtle addictiveness to these songs, one that will gently grab you by the collar of your coat and stick the refrains from Sundancing inside your head for good.
Veil Of Light might make it look easy to keep it neat without being minimalist, intimate without being depressing, romantic in the most true sense of the word, but we know that’s possibly the hardest thing to do.

Fresh from DOTT’s “Puppy Luv EP” and Rudoh’s “Vinland In Space EP”, Jugaar Records is back and this time with a full-length, double-pack vinyl, and digital compilation bringing together friends from Asia and Europe. The record is testament to the healthy place the Asian electronic music landscape finds itself in and those intrepid producers who are willing to explore new scenes and sounds. It's energy-crew from the off - with UK beatmaker Joe Koshin’s “Astro Wax”, a techy electro work-out that conjures images of futuristic cityscapes and dense urban mazes. Up next, Pakistan-born and label co-boss Rudoh maintains the electro vibe with cut-up hip-hop vocals sprinkled on top of a pulsating bassline in his “KOF”. His records are being picked up by global tastemakers from Emerald to Roza Terenzi to DJ Masda. Don’t sleep!

Moving to the B-side, German-born, London mainstay Voigtmann shuffles and deals a steppy drum pattern and intricate synth-work, with a bassline drenched in that particular brand of funk to get the party going even at the most ungodly hour. Observatory resident Nic Ford closes this disk with an ambient excursion that summons spiritual rave voices from the deep laid atop a lilting synth loop. It’s typical of his ambient performances which have gained much notoriety in Vietnam of late.

Opening the second record is Egyptian gem Hassan Abou Alam whose recent outings on Naïve and Banoffee Pies have gained him much and well-deserved attention. Here, his “Gloom” combines twinkling IDM modes with heavy sub bass experiments primed to stop the most idiosyncratic dancefloors in their tracks. Up on C2, the Version, 3024 and Phonica Records graduate Yak adds breaks to the equation. His “Disk Full” brings together a haunting gated synth and razor-sharp beat programming to devastating effect. Melbourne based, Salt Mines Records honcho Shedbug concludes this side with his hopeful “A Lil Piece” whose soaring synth line will hit all the right emotional chords at all the right times.

On the final side Bangkokian Chalo reminds us why he is one of the masters of this increasingly fully formed scene. His Depth Charge is a muggy dub-laden, electro jam capable of rattling the weightiest sound systems in some of the most twisted raves at the end of some of the darkest Sois. The record is completed by New Delhi linchpin and Boxout.fm resident Monophonik, whose techno/electro “Tumbi” journeys out of the night into a euphoric sunrise moment that will be setting the dancefloors alight come festival season.

Limited edition LP release for DAYTIME TV’s debut album ‘nothing’s on but everyone’s watching’: Following up the rapturously received CD release of their debut album, DAYTIME TV are proud to release a very limited- edition vinyl release of the album to coinside with a slew of live activity and support from Radio 1, BBC Scotland (TV),
Scruff of the Neck and more. The album’s lead single ‘little victories’ garnered incredible support from: Spotify (New Music Friday, All New Rock, The Rock List (incl. playlist cover) and many others), Apple Music (New Music Daily, The New Rock, New In Rock, New In Alternative), BBC Radio 1, Amazing Radio (B-List) and Scruff of the Neck (the band headlined the Scruff of the Neck stage at this year’s The Great Escape).

Omar Apollo veröffentlicht offiziell sein mit Spannung erwartetes Debütalbum IVORY.

IVORY bringt Omar Apollos Songwriting auf die nächste Stufe - es überwindet Genregrenzen und Sprachbarrieren, während es eine noch größere musikalische Vielfalt des aufstrebenden Superstars zeigt.

Das neue Album enthält die zuvor veröffentlichten Singles "Tamagotchi", produziert von Pharrell Williams und Chad Hugo, "Killing Me", das mit einem Fernsehauftritt in der Tonight Show mit Jimmy Fallon debütierte, und "Invincible" mit Daniel Caesar.

Darüber hinaus enthält das Album die von Teo Halm produzierte gemeinsame Single "Bad Life" mit Kali Uchis und "Go Away", das von Omar selbst zusammen mit Carter Lang und Chromeo produziert wurde.

In nur wenigen Jahren entwickelte sich der in Indiana aufgewachsene, mexikanisch-amerikanische Singer-Songwriter vom Teenager-Strummer zu einem der heißesten R&B-Künstler seiner Generation.

Die renommierte Singer-/ Songwriterin Katie Melua die Details zu ihrem kommenden neunten Studioalbum „Love & Money“ bekanntgegeben - ein atemberaubendes und höchst persönliches, insgesamt zehn Tracks umfassendes Werk, das einen tiefen Einblick gewährt, was innerhalb der letzten zwei Jahre in Katies Leben geschehen ist. Mit 56 Platinauszeichnungen in ihrer nunmehr zwei Dekaden andauernden Karriere ist Katie Melua zu einer der meistverkauften Künstlerinnen Großbritanniens avanciert, nachdem sie mit ihrem Debütalbum „Call Off The Search“ die Charts stürmte und anschließend nicht weniger als acht aufeinanderfolgende Top-10-Alben in Großbritannien veröffentlichte - zuletzt geschehen im Jahr 2020 mit dem „Album No. 8“.
Die Neuigkeit über die Veröffentlichung von „Love & Money“ am 24. März 2023 via BMG folgt auf die erst kürzlich erfolgte Bekanntgabe von Katies bevorstehender UK- und Europa-Tournee im April und Mai diesen Jahres, die mit einer Show in der legendären Royal Albert Hall in London am 16. Mai ein absolutes Highlight beinhaltet.
Produziert von Leo Abrahams (Ghostpoet, Brian Eno, Regina Spektor), wurde „Love & Money“ im Sommer 2022 in Peter Gabriels Real World Studios aufgenommen, während Katie mit ihrem mittlerweile neugeborenen Sohn schwanger war. Das Album ist eine exquisite Sammlung von Songs, die wesentlich von Dankbarkeit und einer Positivität geprägt sind, die sich mit einer neuen Liebe einstellt. Darüber hinaus geht es auch um Selbstakzeptanz angesichts von einschneidenden Veränderungen und wohl auch um den Versuch ist, „die Überzeugung loszulassen, dass Glück weniger schwer ist als das Gegenteil".
Katie Melua stammt ursprünglich aus Tiflis, Georgien, und hat es in jeder Hinsicht weit gebracht. Durch moderne Klassiker wie „The Closest Thing To Crazy" und „Nine Million Bicycles" unsterblich geworden, war ihr letzter Longplayer - das 2020 erschienene „Album No. 8“ - der bisher von der Kritik am meisten gelobte. Es zeigte eindrucksvoll, wie sie als Lyrikerin gereift ist, in dem sie sich sanft gegen den romantischen Idealismus in herkömmlichen Popsongs auflehnte und stattdessen nach etwas suchte, das sich näher an ihrer eigenen Erfahrung anfühlte. Doch ganz gleich, wann es das letzte Mal war, dass man mit ihr in Berührung gekommen ist, es gibt vermutlich keinen besseren Zeitpunkt, die Entwicklung von Katie Melua als Singer- / Songwriterin genauer unter die Lupe zu nehmen als jetzt mit der Veröffentlichung ihres neues, mittlerweile neunten Album „Love & Money“. Das Album wird sowohl digital als auch auf Vinyl und als Standard- oder auch Deluxe-CD erhältlich sein. Die Deluxe-CD enthält vier Bonustracks, darunter ein atemberaubendes Duett mit dem deutschen Künstler Philipp Poisel.

Beatservice Records are beyond thrilled to announce the arrival of Kohib's hotly anticipated studio album 'Today's Tales Of Tomorrow'.

DJ, producer and club organiser Øivind 'Kohib' Sjøvoll has been in truly dazzling form of late, serving a series of mesmerising singles that served as a tantalising taster to his latest album – the third he's crafted for Beatservice. Actively producing immaculately crafted sounds for over two decades, sonic alchemist Kohib continues his deft aptitude for sculpting genre-defying compositions, with 'Today's Tales Of Tomorrow' playing host to some of his most compelling material to date. From pitch black introspection to rousing dancefloor abandon, the album is every bit as far-reaching as we've come to expect from this singularly talented artist.

The collection bursts into life via the club-focused thrust of 'Golden Skies', featuring the seductive vocals of enigmatic songstress, Lydia Waits, whose stirring performance shines like a beacon as it soars over Kohib's slick four/four groove. Crisp drums drive the hypnotic rhythm over a subaquatic bass line, as icy pads and pitched synth percussion combine to stunning effect, effortlessly building to Waits' rousing chorus section. Subtly shifting the mood, we arrive in the heads-down throb of 'It's Never Late In Neon Signs', where glistening arpeggios and snarling bass caress Lydia Waits' honeyed vocal, the pristine instrumentation undulating over a mesmerising, radio-friendly arrangement.

'Fake Fur' arrives with deliciously brooding intent, with (Kohib's High Heeled Giants bandmate) Helle Larsen's bewitching vocal gliding over immersive instrumentation and otherworldly textures. Evocative harmonics combine with ethereal synth leads and dramatic aural waves, the hypnotic percussion gently driving the groove deep into the half-light of a crisp autumnal haze. Next, 'Hold That Thought' mischievously switches the rhythm, as thick sub bass and searing synth motifs power over broken drums while Helle Larsen's affecting vocal rises from delicate verse into dramatic chorus bursts.

'Sandcastles' once again sees Helle Larsen grace the stage, lacing waves of cinematic pads glide and live bass as scattered percussion forms an alluring rhythm. Sparse and precise, the evolving music ebbs and flows as the tides, gorgeously caressing Larsen's emotion-rich vocal as she weaves her seductive lyrical metaphors. The album's title track 'Today's Tales Of Tomorrow' sees sinister lead synths exploding over deviant bass as the pulsating rhythm drives the cut through distant vocals, the low-slung groove proving magnetic as the nocturnal melody works its magic.

The tempo rises rapidly, with the pounding bass arpeggio of 'This Kitty Got Claws' purposefully marching through cascading synth textures, euphoric chords, and self-assured lead vocals. Expertly displaying his expansive production finesse, the rhythm once again switches as we sashay into the utterly bewitching 'Rhythm Cast A Spell On Me', with Lydia Waits' indelible vocal providing a profoundly atmospheric moment. A sublimely constructed bed of neatly woven keys, xylophone strikes and haunting bass clarinet elegantly embrace the ethereal lead vocal.

The mystical melodies of 'Not Supposed To Be' echo over a misty woodland landscape, with Lydia Waits' unfeigned vocal flowing over jagged synth textures and gently broken rhythms, before Helle Larsen returns with the sensual swansong 'Let's Stay Right Here'. Sumptuous keys shimmer over a steady tempo, with warm bass and sugary melodies supporting the intoxicating lead vocal for a gorgeously heartfelt finale.

Vividly illustrating Kohib's unthinkably vast sonic repertoire, 'Today's Tales Of Tomorrow' looks set to further enhance the Norwegian producer's already glowing reputation, with each exquisitely-formed track combining to create a collection that's at once powerfully memorable and profoundly coherent.