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In the past few years, Clarice Jensen has forged her own path. Recently, her focus has shifted to film scoring, successfully recording work for three feature films between 2020 and 2021. At the same time, Clarice continues to serve as artistic director of the American Contemporary Music Ensemble, while continually collaborating with an impressive array of musicians, such as Max Richter, Björk and Stars of the Lid, to name a few.

That being said, it was her 2019 tape release on Geographic North, »Drone Studies«, that initially caught the attention of a wider audience, with the work showcasing a compelling assembly of deeply immersive drones, and elegantly orchestrated compositions, in which neoclassical elements collide with electric density.

Three years later, the work has lost none of its innovative character and appeal. It also documents a turning point in Clarice's career, one where her classically trained background started to converged and overlap with her interests in improvisational electronics and drone music. As a result, the aptly titled »Drone Studies« shows Clarice at her most exploratory, introspective, and daring, channeling her areas of interest into a collage of richly textured timbers and cello movements of sublime tension.

Now for the first time, the original album can be experienced through an expanded vinyl reissue, mastered by Rafael Anton Irisarri, and carefully adjusted for vinyl by Ian Hawgood. The new reissue also features an additional track by Clarice called »Platonic Solids 2«, which was originally conceived around the same time as »Drone Studies«, and which has now been made available exclusively for the vinyl edition.

We hope that this new reissue will aid in introducing Clarice's groundbreaking »Drone Studies« to a new crowd of listeners through this expanded edition.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Sixties Collected features Love “Alone Again Or”, Cher “Bang Bang (My Baby Shot Me Down)”, The Who “Pinball Wizard”, Diana Ross & The Supremes “Love Child”, Steppenwolf “Magic Carpet Ride”, The Animals “House Of The Rising Sun”, The Beach Boys “Good Vibrations”, David Bowie “Love You Till Tuesday”, Bob Dylan “Subterranean Homesick Blues”, Tom Jones “It’s Not Unusual”, Nina Simone “I Put A Spell On You”, Rod Stewart “Handbags & Gladrags” a.o.

Various Artists - Sixties Collected is available on black vinyl and includes an insert.

Spirituality, love, healing and the power of the spirit are themes that have been running through the music of Welsh artist Bryde for years. On "Still", she devotes herself to them again on a deeper level. So here she takes on the different ways of loving. The way we see love or fall in love is changing rapidly. On "Still" Bryde illuminates online vs. real life dating, as well as self-love and rom-com inspired swoons. An album that will keep us busy.

After John Squire left The Stone Roses, he formed The Seahorses in
1996 together with Stuart Fletcher, Chris Helme and Andy Watts. The year after they released their debut album Do It Yourself, which was produced by Tony Visconti. Visconti had his first hit with T. Rex’ “Ride A White Swan” and was involved in many David Bowie productions.

The album was well received and entered the UK Album Charts at
#2 and received a Platinum status. It featured three popular singles: “Love Is The Law”, “Blinded By The Sun” and “Love Me And Leave Me”. The latter was Liam Gallagher’s first song writing credit. Their success resulted in support slots with The Rolling Stones, U2 and Oasis. Unfortunately, The Seahorses aborded the recordings of their follow-up album to split up due to musical differences.

Do It Yourself is celebrating its 25th anniversary in 2022 and includes an insert.

Continuing with the theme of finding and releasing quality 21st century CD-only tracks on to 7” vinyl, Jai Alai now are proud to present their fourth release which showcases the stand-out tracks from the only two albums released under the name Sir Wick.
Chad ’Sir Wick’ Hughes is probably best described as a musician (trombone, piano, percussion), composer, teacher, adjudicator and clinician, but somehow that doesn’t seem quite enough to describe such a unique musical talent. Born in Detroit, and graduating from the same High School as Diana Ross, Paul Thompson, & Ron Carter, he went on to study composition and arranging, and holds regular clinics around the north and mid-west US states sharing his expertise.
The topside on this limited edition release is the lead track from his debut album “An Interpretation Of A Universal Language” (2007 Sir Wick Entertainment LLC) which features the sublime vocals of Sedalia Marie, a beautiful mid-pacer, whilst the other side “I Love You” features the mellow vocals of Anthony Saunders on a track from Chad’s opus work “A Tale Of Two Fools”, which he began in 1996 but only finally orchestrated and released as his second album in 2017 - a soundtrack featuring a full orchestra comprising eight woodwind parts, full strings, big band brass, and seven-piece rhythm section.
Originally intended as an operetta, it was evolving into something bigger; an opera, musical or stage play maybe, but he finally referred to it as a ‘novical’ (a musical novel), which best describes this story of a young musician falling in love for the first time. A biopic, maybe?
One could easily take these two fabulous tracks at face value as simply just another great double-sider, but isn’t it nicer to know the full story?

Steve Hobbs (Solar Radio, Totally Wired Radio)

Ferocious JP / US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs & liner notes by Alan Cummings.

Following hot on the heels of the first, mid-sixties generation of Japanese free jazz players like Kaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa, etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist Kazutoki Umezu and multi-instrumentalist Yoriyuki Harada. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.

These experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name Seikatsu Kōjyō Iinkai (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the Toshinori Kondo Unit and Harada with the Tadashi Yoshida Quintet. In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.

Then, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like David Murray, Arthur Blythe, and Oliver Lake. He recalls making the rounds of the lofts every evening, checking out the performances, and getting the chance to sit in with many groups including Juma Sultan’s Aboriginal Music Society and trumpeter Ted Daniel’s orchestra.

Things were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20th at another loft, Sunrise Studios at 122 2nd Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along Ahmed Abdullah, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term Sun Ra sideman. William Parker, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along Rashid Sinan on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on Frank Lowe’s immortal Black Beings album and collaborated with Arthur Doyle, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.

Since they had managed to save some money from their day jobs, Umezu and Harada decided to set up a recording session with the same line-up on August 11 at Studio We, where there was a well-equipped studio on the third floor. Umezu recalls the session as follows, Of course, we recorded our performances in one take, with zero retakes as far as I remember. On all the tracks we recorded, we moved as one unit, sharp and fast. That was the nature of Lifestyle Improvement Committee, New York Branch.

Umezu and Harada would later become known for the elements of parody and entertainment that they brought to their music, a freewheeling blend of pastiche, humour and on-stage performativity that paralleled the approaches of the Art Ensemble, Sun Ra, and Holland’s ICP. But here, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate. When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air against Abdullah’s trumpet.

Praised for his genuine originality, the American-Canadian Rufus Wainwright has established himself as one of the great male vocalists and songwriters of his generation. In 2004 he released Want Two, his fourth studio album. According to Wainwright himself, it is the darker sibling of 2003’s Want One - its subject matter concerned with “the world we live in” after Want One focus on the intensely personal. Wainwright produced the album in collaboration with Grammy Award winning British producer Marius de Vries, who is best known for work with U2, Madonna and Björk.

His mother Kate McGarrigle and aunt Anna McGarrigle both sing on the track “Hometown Waltz”. The album also features Wainwright’s popular tracks “The One You Love”, “Agnes Dei” and “Old Whore’s Diet”. The latter features Anohni from Antony and the Johnsons.

Want Two includes an insert with lyrics.

Melodies International are glad to be back, starting off 2022 with their new reissue 12” comprising two big big club soul/disco classic versions of “I’ve Got My Second Wind”. Out late March/early April, vinyl only!

Lead singer Al Johnson and Tom Fauntleroy, two US soul & R&B greats who founded their first band at University in Washington D.C. originally wrote and released the song on Johnson’s first solo independent album “Peaceful” in 1978. They’d later go on to rerecord the track for Johnson’s follow up album on major label CBS “Back For More” which introduced the song to a wider audience and is the version featured here on this 12”

Tata Vega, American singer from New York would go on to cover the track that same year. Starting her career in the 60s featuring in musicals and performing with various groups, she got signed to Motown by Berry Gordy on the spot who was in the audience at a concert one of Vega’s groups was performing at. Tata Vega’s version of “I’ve Got My Second Wind”, in duet with soul singer George Curtis Cameron was originally released on her fourth solo album on Motown, “Givin’ All My Love”. Reissued and now available on loud 12” for the first time!

Remastered from the tapes by the great Matt Colton, pressed in Italy at Mother Tongue, comes in printed inner and outer sleeves, out late March / early April, play loud!

A survey of the modern jazz & hard-bop scenes that emerged in the new cultural melting pot of post war London, with recordings from the end of the 1940s through to the early 1960s.

Featuring representations from players whose roots lay in the East-End's jewish community, such as Ronnie Scott, Vic Ash & Harry Klein, alongside a wealth of talent of Caribbean and African descent playing and recording in post war London during this period, incl. Dizzy Reece, Wilton Gaynair, Joe Harriott, Shake Keane & Ginger Johnson.

Made in partnership with the Barbican to coincide with the exhibition Postwar Modern: New Art in Britain 1945-1965.

Internationally-renowned British singer-songwriter Emeli Sandé with her forthcoming album Let’s Say For Instance, and her first release on an independent label, and it marks a new era of Emeli’s expansive artistry after a decade on stage and on the airwaves. Exploring new sonic territory through shades of classical, disco, nostalgic R&B and more, it sees Emeli freeing herself from the expectations of others, flexing her holistic skills as a songwriter, producer and vocalist in new, versatile ways. In her words: “‘an ode to resilience, rebirth, and renewal”.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Seventies Collected features classic tracks and forgotten gems: Queen “Somebody To Love”, Billie Joel “Movin’ Out (Anthony’s Song)”, Lou Reed “Vicious”, Blondie “Atomic”, Paul McCartney & Wings “Mrs. Vandebilt”, Rodriguez “Sugarman”, Patti Smith Group “Dancing Barefoot”, Roxy Music “Dance Away”, Big Star “Thirteen”, Leon Russell “A Song For You”, 10CC “Dreadlock Holiday”, Grace Jones “La Vie En Rose”, Rush “Closer To The Heart”, Gerry Rafferty “Right Down The Line”, Minnie Riperton “Les Fleurs”, The Brothers Johnson “Strawberry Letter 23” a.o.

Various Artists - Seventies Collected is available on black vinyl and includes an insert.

Eurovision Song Contest: The Story of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star.

“Volcano Man” was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a “Song-A-Long”, producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybak. The album also features the cult hit “Jaja Ding Dong”.

The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards.

Eurovision Song Contest: The Story Of Fire Saga is available as a limited edition of 1000 individually numbered copies on “Lion Of Love” pink coloured vinyl. The package includes a 4-page booklet and printed innersleeve with movie stills.

Limited edition 180g premium vinyl for super fidelity, presented in a
deluxe gatefold sleeve
'Porgy & Bess' was the third and final album collaboration between Ella Fitzgerald,
Louis Armstrong and producer Norman Granz. Featuring songs from the George
& Ira Gershwins opera, which was inspired by the DuBose Heyward play 'Porgy', it
received both critical acclaim and commercial success internationally.
"As the tracks progress, you think she is cutting Armstrong - only to turn around
and believe that Armstrong is cutting her. The truth, of course, is that they are
outdoing themselves. This is a Porgy performance you would be ill- advised to
miss." - Gene Lees, DownBeat

For King & Country's fourth studio project, 'What Are We Waiting For?',
asks a pivotal question in a post-pandemic world
Brothers Joel and Luke Smallbone provide the answer across 13 original tracks
that confront relevant issues and confirm the duo's commitment to community,
diversity and family. Set against a sonic backdrop painted by the Platinum-selling
group's lush, vivid pop, the collection features cameos from tourmate Dante
Bowe, Kirk Franklin and Tori Kelly and includes barrier- breaking single "Relate,"
awe-inspiring "Love Me Like I Am" and unifying No. 1 hit "Together."

The first ever recordings of FRED MCDOWELL. Recorded by ALAN LOMAX in 1959. The first vinyl release dedicated entirely to this phenomenal recording session. Twelve songs that highlight the depth of his repetoire - from droning & hypnotic versions of songs that later became blues standards such as "Shake Em On Down" and "Good Morning Little Schoolgirl" to his deeply felt renditions of spirituals like "Keep Your Lamp Trimmed & Burning." Accompanied at times by some amazing hair comb playing & beautiful backup vocals. Comes in old-school "tip on" sleeves with liner notes by NATHAN SALSBURG. A co-release with our friends Domino Sound. The stuff of dreams. Received an 8.5 rating from Pitchfork.

Nach einer ersten BBC-Livesession für Marc Riley veröffentlicht das Indie-Pop-Trio PEANESS aus Chester sein Debütalbum 'World Full Of Worry' über das bandeigene Label Totally Snick Records. PEANESS haben sich mit ihrem zuckersüssen, melancholischen Indie-Pop in den letzten sechs Jahre eine fanatische Anhängerschaft im Untergrund und bei der Musikpresse aufgebaut und sind mit BC Camplight und Maximo Park auf Tour gegangen.

- 'Sunshine-laden indie-pop to brighten the short autumn days and darker nights.' - Louder Than War
- 'A deliriously fun piece of guitar pop racket…addictive, funny, and charming as hell.' – CLASH
- 'Whip-smart songwriting…kick-ass indie punk.' – Kerrang! Magazine

‘Wax Limousine’ is the third solo album from London’s Wesley Gonzalez. Set for release on 18th March via Moshi Moshi Records, the record is the follow up to last year’s critically acclaimed ‘Appalling Human’ and finds the indie stalwart delivering his most personal album to date, via a collection of 12 irresistible pop songs. The announcement arrives alongside the title track, which received its first play from Marc Riley on 6Music and its accompanying video, the second to be revealed from the record following ‘Greater Expectations’, released earlier this year. In support of the release, Gonzalez heads out on tour this November, headlining Electrowerkz on 25th and supporting Young Knives across the country (full dates below).

With its truly eclectic range of musical influences drawing on Gonzalez’s ever developing sonic palette, the album’s uplifting sound juxtaposes its themes, documenting the end of a long-term relationship and the overwhelming experience of dealing with a family member’s cancer diagnosis and subsequent treatment. ‘Wax Limousine’ navigates these hurdles with a razor-sharp wit and often brutally perceptive self-awareness, nowhere more so than on the new single. Inspired by both 'Faithless' by Scritti Politti and Aretha Franklin, it is Gonzalez’s version of an 80’s gospel song and, as he explains, written at a crucial point over the last 12 months

“This was written right after the breakup and cancer diagnosis. It was that early stage of a breakup where you can't really understand what went wrong for you or for your ex. There was resentment for the extreme change I had suddenly found myself in, and I was asking what it really was I did wrong. The title Wax Limousine came from old phrases like "as useless as an ashtray on a motorbike". I was trying to express how useless I felt within every situation that had just arrived at my doorstep.”

Wesley Gonzalez first made a name for himself as the leader of Let's Wrestle, whose tuneful and eccentric punk earned critical accolades and a devoted audience with three albums, including 2011’s Steve Albini produced ‘Nursing Home’. Gonzalez wasted little time forging his own path and quickly assembled a live band for his solo work, expanding upon the guitar-driven music of his former band, with an interesting concoction of classic 70’s pop, soul, and indie rock. Gonzalez released his debut solo record ‘Excellent Musician’ in 2017, then the follow up ‘Appalling Human’ in June 2020 through Moshi Moshi Records.

Nach einer ersten BBC-Livesession für Marc Riley veröffentlicht das Indie-Pop-Trio PEANESS aus Chester sein Debütalbum 'World Full Of Worry' über das bandeigene Label Totally Snick Records. PEANESS haben sich mit ihrem zuckersüssen, melancholischen Indie-Pop in den letzten sechs Jahre eine fanatische Anhängerschaft im Untergrund und bei der Musikpresse aufgebaut und sind mit BC Camplight und Maximo Park auf Tour gegangen.

- 'Sunshine-laden indie-pop to brighten the short autumn days and darker nights.' - Louder Than War
- 'A deliriously fun piece of guitar pop racket…addictive, funny, and charming as hell.' – CLASH
- 'Whip-smart songwriting…kick-ass indie punk.' – Kerrang! Magazine

Three years have passed since the world first learned of Ursula Bogner's work. Since then, her identity has been surrounded by rumours, her graphic work have been exhibited (CEACC, Strasbourg, France, 2011 and elsewhere) and her compositional instructions have been performed (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek among others). The release of Sonne = Blackbox brings together all of these aspects in one CD and book: compiled by Andrew Pekler, the CD presents Bogner's early experiments with voice and tape music – a previously unknown emotional side of her music is revealed here through her singing. The 126 page book contains, along with drawings, photos and other curiosities from Bogner’s life, an introduction by Jan Jelinek, texts by Momus, Andrew Pekler, Tim Tetzner, and Bettina Klein as well as interviews with the orgone researcher Jürgen Fischer and the ethnographer Kiwi Menrath. Sonne = Blackbox attempts to locate Ursula Bogner, the sound experimentalist within broader cultural history. A central theme is the phenomenon of fake: how did the erroneous suspicion of fakery come about in the case of Ursula Bogner and what is a post-fake? Answers in this book.

'Dirty Camaro' was written and recorded in collaboration with several of
Williams' musical compatriots, in cluding John Paul White, Ashley
Monroe, Robert Ellis, Anderson East, Thad Cockrell, and more
Williams' voice is one to be reckoned with, and the album spins powerful stories
of heartbreak and longing, tenderness and love for family, and overcoming
obstacles when everything seems like it's going wrong
First solo project of front man from the folk-rock group "The Lone Bellow"

Black vinyl with download. Bio Ritmo is recognized around the world as one of the most intriguing and influential indie “salsa dura” orchestras of the last three decades. Their music is rooted in Afro-Caribbean rhythms mixed with retro big-band jazz, a little funk, and all things 1970s. The 10-piece powerhouse began in 1991 as an experimental percussion ensemble that grew out of the diverse local music scene of Richmond, VA, which also gave birth to GWAR, Honor Role, Sparklehorse, and Lamb of God, among many others. Bio Ritmo has received global acclaim, with critics heralding them as “Latin music visionaries” and “one of the most innovative salsa bands of the 21st century.” To commemorate the group’s 30-year anniversary, Merge and Electric Cowbell Records are reissuing Bio Ritmo’s 7-inch single “Piragüero” b/w “Asia Minor,” originally released on Merge in 1996. A-side “Piragüero” is an original track that features the soaring, soulful vocals of Rei Alvarez. The flipside is a mambo classic from the ’50s popularized by the great Cuban bandleader Machito, whom Bio Ritmo regarded as a major influence in its conception. This record is a snapshot of the raw essence of Bio Ritmo in its early years that laid the foundation for the band’s evolution and endurance.

Based in Bamako for sixteen years, Philippe Sanmiguel has been the producer of albums by the famous Malian bluesman Samba Touré since his international debut. Over the years, Philippe has expanded his work with other artists such as the legendary Tuareg band Tartit, Anansy Cissé, Mariam Koné or Djimé Sissoko among others.

While working on the albums of these artists, he often had the inspiration to add influences from his original rock culture but in small measures. That's how Black Mango was born, to gather his favorite musical collaborators around his own compositions and expand the vision. It started with an EP released on Glitterbeat Records in 2014 from which the idea for a full-length album was born.

Black Mango's Quicksand album was recorded in Bamako over a period of several years, in various recording sessions, giving each musician free range to play on a rhythmic and melodic basis prepared in advance. The alchemy was immediate in all cases, often from the first takes.

Philippe originally met producer and musician Hugo Race with Chris Eckman during their stay in Bamako for the recording sessions of Dirtmusic's Troubles & Lion City albums. Hugo loved the raw feeling of the tracks and offered to remix the album in his Melbourne studio, bringing his own unique touch.

The fruit is ripe!

Recorded at Akan Studio & Funhouse Studio in Bamako, Mali by Konan Kouassi & Philippe Sanmiguel
Produced, mixed and mastered by Hugo Race at Helixed Studio

A few words about the main " stars " :

- Samba Touré is Samba Touré.
- Anansy Cissé is a young songhoy artist for whom Sanmiguel has produced two albums, including the recent and acclaimed "Anoura".
- Mariam Koné is one of the most beautiful voices of Mali, who has a self-produced album and teaches music at the conservatory of Bamako.
- Singer Bocar Sana Coulibaly & Ali Traoré are singer and guitarist from Niafunké, nephews of the great Ali Farka Touré and have a band called Espoirs de Niafunké

Provogue / Mascot Label Group will re-issue Nothin' But Love and In My Soul from the Robert Cray Band as part of their ongoing special re-issue campaign. The albums will be released on 140g light blue vinyl on 6 May 2022.

Remastered Reissue des 2002er Kultdebütalbums der Emo/Post-Hardcore-Band Desaparecidos von Conor Oberst (Bright Eyes), der zu einem der beliebtesten und aussagekräftigsten Statements seiner Ära wurde und die Entfremdung derjenigen einfing, die den Kriegsnebel für $$$$ nach dem 11. September durchschauten. 20 Jahre später sind die auf 'Read Music/Speak Spanish' zum Ausdruck gebrachte Angst und Abscheu sogar aktueller als damals, wirken eher prophetisch als paranoid und machen die Botschaft des Albums so notwendig wie seit je.

'Desaparecidos is like finding gold when you're looking for silver.' - Exclaim!

Cologne-based, multi-instrumentalist and creative jazz powerhouse
Gianni Brezzo presents his full-length LP “Tutto Passa,” arriving via
Berlin’s Jakarta Records May 5th.
Gianni Brezzo is the jazz affiliated band / studio project headed by
Cologne-based producer & creative maestro Marvin Horsch, whose diverse musical profile is reflected both in his scene-hopping as well as his creative output. Besides producing cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, culminating most recently with “The Awakening” EP in 2021 on Jakarta Records. While Gianni’s works are usually instrumental only, “The Awakening” featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” and “Café / Croissant”, and most recently was synced in an episode of Gossip Girl for HBO US.

Gianni’s new LP, “Tutto Passa” is a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani, Piero Piccioni and Armando Trovajoli to more recent work by Sven Wunder. Sonically rich, the album rides a sonic wave similar to some Matthew Halsall, Surprise Chef, El Michels Affair and BadBadNotGood all rolled into one beautifully luscious work. Jakarta is ecstatic to share such a career-defining work, arriving May 6th, 2022.

The albums 1st single, “Il Sole” will be released Wednesday, March 2nd with the LP pre-order announcement that Friday, March 4th to capitalize on Bandcamp Friday. The track is a perfect sonic voyage that encapsulates the growth of Gianni’s sound and gives a sonic peak into the LP. Subtle, yet lush layers of synths, horns, keys and strong, beat-driven percussion all ebb and flow together, bringing to mind the finest Library Themes of Umiliani, Sven Wunder, Janko Nilovic and others. Visualizer accompaniments for all singles provided by Robert Winter and his DIE OTTOS crew that perfectly captures the sonic mood.

The LP’s 2nd single, “Capture This,” will be released March 30th and is a splash of pure, groovy, jazz-funk. Instantly catchy, the track will have you imagining yourself in a movie that perfectly captures the musical themes: playful flutes, crisp, fluid guitar riffs, heart-pulling strings, all held together by a strong, swingin’ drum groove.

The third single is the stunning, swirling, thematic track “Rising Of My
Mind.” Careful layers of harmonized brass, flutes, percussion ebb & flow, bubbling up to the acoustic surface like sonic ripples effortlessly bursting from Gianni’s auditory palette. Only reaching the tracks full crescendo more than 2 minutes in, “Rising Of My Mind” is on that finest jazz tip, raising Gianni’s musical caliber into the skies.

Focus track is the effortlessly smooth, soulful jazz-funk piece, “Torino.” Certified fresh, the progression gives you that euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find.

“Tutto Passa” is a project with a variety of moods ranging from Arthur
Verocai and David Axelrod inspired arrangements to lush, thematic jazz progressions with a swingin’ percussive edge. It’s a timeless release, one that would sit just as well in 1972 as it does in 2022, and one that, as Gianni says:
“…reflects exactly the feeling I had last year when I was in Italy with my own family. As a musician, I was looking for the challenge of a more orchestral approach on this album, which I hoped to achieve with my arsenal from the Cologne jazz scene and the support of musicians from around the world.”
Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US, UK & Italy

Remember Rainbow Bridge', the new album by Croatian Amor, is a homage to youth and the delicate metamorphosis that occurs as childhood trips into maturity. Focused on this tender flux, the songs on 'Remember Rainbow Bridge' are infused with the restless energy of adolescence and a dawning sense of mortality. From the sun-kissed title track, to the night burn and wet pavement of 'Paper Birds', monumental highs are shuffled with great lows that we perhaps feel most clearly and earnestly in those formative years. Since the earliest collages committed to tape under the name of Croatian Amor, Loke Rahbek's alias has at every step gravitated towards constant discovery and experimentation. The sound collages are still present while the unity of each song's construction now often conceals the juxtapositions and overlapping edges. Employing a medley of diffuse electronic music traditions, fantastical synthetic worlds are evoked and while 'Remember Rainbow Bridge' heavily relies on rhythmic structures to propel the compositions, Croatian Amor continues to tend a highly textured field in his own inimitable way. 'Remember Rainbow Bridge' is a celebration of the liminal space between phases of life, the chrysalis of youth. It is a record about coming to terms with our ever-changing place in the world, its title urging us to see the world with a child's eye, to never forget the miraculous at play only an arm's-length away. "This world as we see it is passing away"

Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic expression and microrhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful.
Near-humanoid behaviour emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures
– ringing, scraping – and group into virtual shapes from tiny spikes to vast surfaces.
Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track 'Nayba'. By contrast,
in the strictly repetitive yet highly asymmetrical sequence of 'Yukagir' each metric step has its own uniquely irregular duration. The center piece of this collection is 'Ayon' with multiple autonomous and
highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation.
All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organisation and to solidify their expression into clear-cut gestalt.

Die Neuauflage des Solo Debütalbums von Matt Deighton, dem Mother Earth Sänger und Noel Gallagher Nachfolger bei Oasis.

Best known for his work with CL Smooth, and his remixes for Public Enemy, House of Pain, Mary J Blige and Mick Jagger to mention a few. Hailing from the little town of Mt. Vernon, NY, right next to the Bronx, Pete Rock & CL Smooth pretty much got together in their local high school when Pete noticed CLs dope and unique voice. After high school, Pete hooked up a weekend hip-hop show on WBLS-FM and was considered one of NYs premier DJs during his four year stint on the show. All Souled Out was Pete & CLs debut EP, it was the phenomenal production by Pete Rock which really drew people to this EP. If the legendary DJ Mark The 45 King was the first producer to incorporate horns, Pete Rock was the first to really perfect this new style of production with his trademark echoing horns laced throughout his music. This was done very nicely on two of the cuts off the EP, Creator and Mecca & The Soul Brother, and people were taking notice in a big way.
After the solid Mecca/Creator 12 inch, the duo unleashed one of those all-time classic LPs every MC dreams of having, Mecca & The Soul Brother featuring the monumental: They Reminisce Over You, Straighten It Out, Ghettos Of The Mind, and Lots Of Lovin. Songs to make you cry - damn, they were playing TROY at funerals everywhere. One of the greatest hip hop records ever made ...it never leads my box man...- (Tim Westwood)

Pete Rock on hip hop: Hip hop to me today is still important but we are going through a phase right now. Hip Hop as been injected by a virus, and right now weve got to find a cure to this. Which brings along myself. (Frank 151)

The Press ...from downtempo, funkdified sounds to hypnotic hip-hop beats, this is a wonderfully crafted album - (BPM July 2001)
This hypnotic ... album represents hip hops incredible ability to morph and manipulate a hodgepodge of sounds to create something unique...although the sound is now industrial, electronic and everything but natural Pete's version of hip hop will remain a classy affair that merges the elements of an orchestra, the roots of black music and the cacophony of the streets. - (Mass Appeal July 2001)

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

Until recently, it was thought that we had heard all there was to hear from Saâda Bonaire. The German studio project's 1980s recordings had been compiled on the now cult-classic double LP Saâda Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph "von" Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the band's long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group's attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories. It's no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Saâda Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebert's soulful voice -the result of a church choir background and an early love of American soul and jazz music- offset Stephanie Lange's laid-back, more German-sounding vocals. This unique interplay bolstered the band's new direction - evident in their inspired takes on James Brown's "Woman" and Syreeta Wright and Stevie Wonder's "To Know You Is To Love You". The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapper Jimmy Lee Patterson, both of whom lent some stardust to the tracks at François Kevorkian's Axis Studios in NYC. Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Saâda Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. It's been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Saâda Bonaire's flair for creating pop music for past, present, and future outsiders.

JOYFULTALK returns with its third album for Constellation; another vibrantly divergent stylistic take on the analog materiality and sensibility of electronic composer-producer Jay Crocker, whose previous two records forged trance-inducing polyrhythmic intricacy, each from a distinct angle and sound palette, each enlisting a single instrumental collaborator. Familiar Science rallies contributions from a larger cast of musicians into a looser, cosmic recombinant combo_still shot through with JOYFULTALK's singular mixing desk kinetics, but this time deep-diving into gnarled and twisted, spliced and diced out-jazz. Crocker draws inspiration from 1980s M-Base music and Ornette Coleman's harmolodic funk period, while his own prior history as an improv guitarist also resurfaces for the first time in many years_an element in this polyvalent artist's chemistry set that hasn't appeared prominently in his own music for over a decade. Familiar Science finds Crocker folding time (as lockdown will do), immersed in his present-day kaleidoscope of solitary art and music practices in rural Nova Scotia, while channeling his former life as a bustling jazz collaborator in Calgary, Alberta. Building outwards from roiling resampled acoustic drums, Crocker extracted additional sonic and rhythmic textures, then formed the head of each song using dusted-off archival recordings and his own bass, keys and midi sequencing. Albertan percussionists Eric Hamelin (Ghostkeeper, Chad Vangaalen) and Chris Dadge (Lab Coast, Alvvays) provided improvised drum tracks to be chopped and harvested; Nova Scotia-based Nicola Miller (Ryan Driver, Doug Tielli) laid down resplendent excursions on saxophone and flute; Crocker's own dexterous guitar appears on several cuts. Familiar Science also poignantly features samples from live recordings by the late Calgary saxophonisticonoclast Dan Meichel, catalysing some of the album's heaviest contortions. Crocker weaves all these raw materials into exuberant compositions that blur the line between sizzling corporeal combo and sampledelic futurist jamz, variously conjuring (leftfield) Flying Lotus, (later) Tortoise, BADBADNOTGOOD and Squarepusher's Music Is Rotted One Note. The rubbery hyper-compression of boom-bap opener "Body Stone" initiates the séance, and the album offers a panoply of skittering grooves and soaring melodic pathways thereafter, through quags of heady jazz alternately streaked with dayglo delirium and other more vaporous states of revelry. Crocker's own wordless stacked vocals are the giddy secret sauce on several cuts, and his lead guitar work (in kinship with the lean progressions of Mary Halvorson or Jeff Parker) features on "Take It To The Grave", "Stop Freaking Out!" and the album's title track. More honeyed passages on songs like "Blissed For A Minute" and "Ballad In 9" center around Miller's bouyant alto sax and flute. Familiar Science is a rousing feast of noise-tinged polychrome electronic avant-jazz: richly harmolodic compositions teeming with intersecting textures and turbulences; exploratory, exhilarated and indeed joyful.