Die Wiederveröffentlichung von Connie Converses How Sad, How Lovely auf Third Man Records erscheint fast 51 Jahre nach dem Verschwinden der Singer-Songwriterin und ist damit die erste Neuauflage dieses Albums seit beinahe zehn Jahren - und das in jedwedem Format. Die Veröffentlichung umfasst 20 Tracks (darunter eine Bonus-7"-Single mit dem bislang unveröffentlichten Stück ,House" sowie einem neuen Remix von ,Playboy of the Western World", beigesteuert von Dirick Cummins), die nichts von ihrer Eindringlichkeit und Kraft verloren haben. Sie präsentieren eine Künstlerin, die ihrer Zeit um Lichtjahre voraus war.
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Some tracks are just too good to only feature on a compilation, even if it is a significant and celebratory set like Leng’s 15 Year anniversary album from late last year. That’s certainly the case with Payfone’s brilliantly atmospheric ‘Dime Algo’, a seductive slab of slow-motion Balearic disco featuring ‘I Feel You’ vocalist Kyd Nereida, along with Sofi Hardoy and Ludmila Rodriguez.
For this single release Black Science Orchestra, one of Britain’s most storied production collectives, deliver some truly exceptional remixes. Initially making their name with a series of sensational house jams on Junior Boy’s Own across the 1990s, BSO became renowned for the quality of their remixes as well as an ever-evolving trademark sound that put soul, organic instrumentation and references to dance music’s rich and varied past front and centre.
Comprised of Rob Mello, Ashley Beedle and Darren Morris, Black Science Orchestra work has been rare in recent years but here they deliver some magical takes on ‘Dime Algo’, blending Payfone’s original instrumentation with their own low-tempo magic. The Vocal Mix begins with sparse drums, Kraftwerkian bleeps and heavy sub-bass, building the action in waves with 303 lines, electro synths, warm chords and Nereida’s superb lead vocals combining to re-frame ‘Dime Algo’ as a deep, far-sighted slice of chugging 21st century acid-disco. The Dub Mix stretches things out with effects-laden instrumentation, acid lines and vocal snippets. Deeper and woozier, with more prominent use of the trio’s 303 trickery and Payfone’s superb original elements, it’s a heady, intoxicating and loved-up interpretation that subtly gains intensity throughout its seven-minute duration.
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Glasgow reggae collective Mungo’s HiFi celebrate 25 years of pulsating music with a follow-up to game-changing second studio album Soundsystem Champions. Released in 2008, the original Sound System Champions became an instant 21st century classic - thanks to its industrial strength basslines, blazing horns and lineup of scorching microphone talent. To commemorate a quarter century of rocking dances and building rhythms, Mungo’s have created Soundsystem Champions 2. They’ve lovingly assembled some of their biggest dubplates, previously only heard in a soundsystem situation, now available to the world. Fans of the first Sound System Champions will hear musical echoes in the new version. Irrepressible Junglist General Levy rides the Belly Ska riddim that kicked off the 2008 edition, with the militant Gideon Boot. Italy’s Marina P returns to the new record on the expansive Searching, as does Kenny Knots, closing the track list with heartfelt roots anthem Rise and Gravitate. For Soundsystem Champions 2, Mungo’s have invited many more voices from their epic journey. Bristol’s Eva Lazarus revisits Althea and Donna’s immortal Uptown Top Ranking. Reading’s Solo Banton turns his lyrical versatility to hip hop banger Bubble N Wine. The beautiful grainy tones of Ireland’s Cian Finn reimagine the Wailers’ Rainbow Country. With this historic sequel album, Mungo’s look back while going forward, the exclusive becomes the inclusive, and the Sound System comes to you!
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"Tapping into a shared affinity for early trance – as in short for transcendental – Function and Nastia Reigel come together on Dekmantel with ‘Devocion’. Bridging the past and the future, this partnership draws deeply on brooding, melancholic early-90s sounds and supercharges it with the immensity of modern techno.
The project began when Nastia Reigel shared a series of discoveries with David ‘Function’ Sumner – records rooted in the rave-leaning edge of the era, spanning labels like R&S, FAX and EXperimental. He responded that this was precisely the music he had been absorbing while coming up in the thick of New York’s club and rave scenes and beginning his journey into DJing. The excited exchange of deep digs around this niche of dance music history naturally led to a conversation about collaborating on music in this vein, and Devocion is the result.
Familiar genre touchstones are everywhere, from the plaintive bleeps and understated breakbeat roll of 'Eternity' through the sad-eyed arpeggios strafing on the edges of 'Reverence' and on to 'Flowstate's blue-hued acid lines and 'Orion's sky-scraping gated pads. But Reigel and Sumner deploy these strongly coded elements with poise, feeding into a richly rendered production that feels anything but old-school. The emotive streak is wielded with care, spelling out the mood without losing the steely, shadowy sensibility that tracks through their respective catalogues.
In a perfect demonstration of honouring the past while embracing the present, Devocion EP lands as a distinctive artistic statement on its own terms."
Riva Starr returns to Rekids with the ‘Shine A Light’ EP
The Snatch! Records boss follows up 2022’s appearance on the label with Mark Broom as Star B.
Italian producer and DJ Riva Starr returns to Rekids with the ‘Shine A Light’ EP, arriving 27th March 2026. It marks his solo debut for Radio Slave’s flagship label, succeeding his ‘Love Will Remain’ EP together with Mark Broom as Star B in 2022. Active for more than two decades, Starr has been a consistent force within House music, known for building infectious loops, weighty basslines, and hook-led vocals into timeless club records. His catalogue spans his own Snatch! Records alongside labels such as Hot Creations, Cajual, Crosstown Rebels, and Factory 93, with releases regularly topping digital charts.
Riva Starr’s ‘Shine A Light’ EP starts with 'Can't Stop The Feeling’, setting the tone with a bold, elastic House groove, driven by funky bass, smart filter work, and diva-style vocal stabs designed to lift the room. ‘Shine A Light (On Me)’ follows with even greater impact, pairing wall-rattling drums with belting vocals that bring gospel intensity to a hands-in-the-air anthem. ‘Tryin’’ digs deeper, keeping the pressure on with a sleazier bassline underpinning male vocal cries and smooth choral touches built for peak-time reactions. Closing things out, ‘Can’t Stop The Feeling (Beat-A-Pella)’ strips the groove back, rounding off a high-impact, emotionally charged EP of modern house craftsmanship.
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Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While Full Circle contends with some of quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.
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Spectral, nostalgic, highly evocative, sometimes-desolate reflections — alone on the piano, and together with saxophonist and flautist Finn Peters — soaked in Satie, Ravel, and Mompou. Expressive and enchanting, but mournfully distracted, with a tentative, exploratory wonderment which reminds you of Paul Klee’s well-worn idea of a drawing as a line taking a walk. Easy to recommend to those of you who recently enjoyed Mashu Hayasaka’s Etudes LP, on All Night Flight. This is lovely stuff from Jesse, in an unexpected departure from his work with Elmore Judd, the Gorillaz, Nyege Nyege Tapes…
The latest tape from Captured Visions offers up smoky, low-key deepness that is perfectly suited to the imperfections of the format. Arcade, aka Nathan Stephenson, opens up this compact but potent collection with 'Grace 01', a dreamy house sound for calm and reflection with a gentle smattering of toms and smeared chords soothing the soul. 'Grace 02' moves more but remains well below the surface, with liquid pads and cuddly kicks. '03' spins out into electro drum patterns with bleeping digital synths and crunchier hits, and '04' closes with ghostly chords that drift in and out of focus over a cavernous and dubby low end from late 90s Berlin.
long content, you may need to expand row to see all... • Warren Zevon’s final concert, recorded August 9, 2002 at the Edmonton Folk Music Festival, available for the first time
• Features “Werewolves Of London,” “Poor Poor Pitiful Me,” “Lawyers, Guns & Money,” “Play It All Night Long,” and more
• Double LP with etched 4th side and liner notes fromlongtime Zevon band member and friend Matt Cartsonis, who accompanied Warren during this performance
• Available for on opaque metallic silver vinyl
One of my favorite repeatable moments in our sets was looking over when he was singing that line from “Don’t Let Us Get Sick”: “I’m lucky to be here with someone I like . . .” to find him looking at me. That’s some pure and precious stuff, and I’m immensely grateful for the memory.
—Matt Cartsonis from his liner notes
Luckily, 2025 Rock & Roll Hall of Fame inductee, Warren Zevon left us with a treasure trove of nearly four decades of incredible songs and performances. Neither Warren, nor his long-time band member, accompanist, and friend Matt Cartsonis, nor the 14,000 people in attendance at the Edmonton Folk Music Festival knew this would be Warren’s final concert—it was just another great performance from an exceptional songwriter and artist. Epilogue: Live At The Edmonton Folk Music Festival offers you the chance to experience it for the first time, or relive it if you were there.
Featuring Warren on guitar, harmonica, and piano, with Cartsonis adding guitar, dulcimer, fiddle, harmonies and more, the pair run through classics like “Werewolves Of London,” “Poor Poor Pitiful Me,” Lawyers, Guns And Money,” and “Play It All Night Long.” The set also features a performance of the song “Dirty Life And Times,” only ever played twice! The pair found room in the set to pay tribute to Canada with a cover of Joni Mitchell’s “A Case Of You” and the traditional, “Canadee-i-o.”
Available on double metallic silver Vinyl (with etched fourth side), Epilogue: Live At The Edmonton Folk Music Festival has been mastered and restored by multiple Grammy-winning engineer Michael Graves and Jordan McLeod of Osiris Studio with Matt Cartsonis. Cartsonis also adds poignant liner notes about the performance, and insight into his musical relationship and friendship with Zevon.
Epilogue: Live At The Edmonton Folk Music Festival is a gift from a truly legendary singer and songwriter. Play it all night long, indeed.
Far Out Recordings proudly presents Ladeiras De Santa Teresa, the debut collaboration between Rio-jazz maverick Antonio Neves and carioca percussion master Thiaguinho Silva. In what could well be the first ever Brazilian jazz album centered around two drummers, Ladeiras De Santa Teresa is an uncompromisingly groove-rich recording, steeped in trad-samba roots and brass power.
Since his acclaimed 2021 album A Pegada Agora E Esssa Antonio Neves has remained a mainstay of the international facing Brazilian scene, performing both as a trombonist and drummer. His instrumental contributions to contemporary classics like Ana Frango Eletrico’s Little Electric Chicken Heart, Bruno Berle’s No Reino Dos Afetos 2, and Bala Desejo’s Sim Sim Sim will be marveled upon by future generations. His partner in crime Thiaguinho Silva happens to be the son of percussion icon Robertinho Silva, who has played on more or less every canonical Brazilian record, Arthur Verocai (1972), Clube Da Esquina (Milton Nascimento and Lo Borges, 1972), and India (Gal Costa, 1973) to name barely a few. Thiaguinho himself has worked with Marcelo D2, Gal Costa, Liniker and Alice Caymmi, and upon listening to Ladeiras De Santa Teresa, it’s clear that Thiaguinho is more than a worthy successor to carry the Silva family torch.
Some listeners may already be familiar with “Das Neves,” which appeared on Mr Bongo’s Rio De Janeiro-focused Hidden Waters compilation in 2023. The track showcases the profoundly skilled Neves brothers brass section (Antonio alongside brother Edu, who has performed with Hermeto Pascoal), the fiery elegance of pianist Luiz Otávio (Dora Morelenbaum), and Thiaguinho’s pulsating samba breaks. This synergised combo continues across the album, notably on “Fendas Vocais” with Neves doubling up on drums, exhibiting his inventive and fearless skill as an arranger. The album also features street-artist, musician and rapper Joca, adding vocalised dynamism and swagger to an otherwise entirely instrumental record on “Viagem de Trem”.
The album’s title Ladeiras De Santa Teresa (The hills of Santa Teresa) is named in tribute to Rio De Janeiro’s famed Santa Teresa neighborhood, a bohemian enclave with scenic views of the iconic cityscape. The spirit of Santa Teresa with its expansive city views and bustling energy is embodied in the album which encapsulates the jazz and samba histories felt within the neighborhood’s windy alleyways and cobbled streets.
Ladeiras De Santa Teresa by Neves E Silva is out on vinyl, CD and digital on Friday 20th March 2026.
A meteorite and a lost EP from an experimental electronic talent escape their grim fate: remain unknown to human civilization forever.
Around 2015, Gareth Smyth (aka Lumigraph) produced two tracks before uploading them on his Soundcloud page under the name “Canyon Diablo”, a tribute to a meteorite that crashed in Arizona 49,000 years ago. Amazed, the future co-founder of M+M Disques barely had time to download them onto his hard drive before they were deleted... until today.
Behind the extraterrestrial sounds of this 2-tracker, Lumigraph seems to want to establish communication with planet earth using its own means. In the dubby “Flamingo Drive”, he patiently builds up his sluggish groove before bringing in a reassuring and catchy bassline. On the B-side, the avant-garde “America Song” combines industrial rhythms, drone guitar, and Pierre Henry-ish noises.
Specs: Wrapped in shrink, DL code, insert with liner notes
"Music in DNA" is an album recorded in the early 1980s in New York City by Yasuhito Ohno, a young Japanese man breaking free from the constraints of his homeland. The album is a naive burst of outsider DIY enthusiasm, inspired by the multiple avant-garde movements of the era, in music, painting and performance, as well as the native energy of 80s NYC. Ohno channeled his youthful “edge” and zeal into open-minded lo-fi musical explorations using a mere two machines: the then-new technological glories of a four-track cassette recorder and that polyphonic synthesizer masterpiece, the Roland Juno-60; on several pieces he vocalizes. These seven tracks have a zestful, innocent, anything-goes charm, free from preciousness and self-consciousness: a raw and youthful human spirit at play in a new world. Ohno was also inspired by the humanistic promise of the general technological developments of the day, including DNA research, personal computing, and early computer graphics, an example of which can be found on the cover. Ohno later returned to Japan, becoming a renowned composer/producer. In an era of jaded cynicism, "Music in DNA" is a welcome taste of big-hearted innocence, a revival of a raw self. Available on CD/LP/Digital, with E/J liner notes.
“Al destino”, the new album by Steve Pepe, began to take shape in 2023 after roughly a year of highly abstract sound research. The original intention was to create a dancefloor-oriented record, moving away from down-tempo structures, built around minimal, percussive compositions and high BPMs, with sound conceived primarily as a functional element.
In 2024, however, the process shifted. Less time was spent producing and more time reflecting. Emotions hovered between the urgencies of the present and unresolved past traumas, and almost without conscious intention, singing returned to the center of the project. It was not a calculated choice, but an inevitable one.
The resulting album does not draw its energy from distant places, nor does it focus on sonic experimentation as an end in itself. Instead, Al destino offers an intimate perspective on how memories and emotions shape the inner self, on the sensation of being simultaneously alone and deeply connected to everything, and on the struggle to reconcile feelings, sensations, love, and desire.
With a collab between Uzi and Keja for the opening, creative drops and mental effects.
Then comes a Jarotek and Trizia Moth versus with a Old School inspiraly sound... And a deep drop. tribe is tribe...
The Flip starts with a Keja long 145 BPM tune. Mental Twirler at a sweet tempo... boostable.
Last tune is a superb ragga jungle banger from Uzi. A master piece... Short but wicked !!
This Raven With A Crown 02 is a new fledgling label materializes in the Violent Cases universe. Corvus Corone - also known as the carrion crow - is stylistically dedicated to true Tribal sounds.This is not chipmunk tribal with laughing gas voices, this is serious stuff as you can expect from Violent Cases because evil forces are invading lala land and we need to gather the tribes. The roadmap for the project covers territory cultivated by the likes of Isotope, LBE and DSP just to name a few reference points.
First in flight is a full release by As’teka Nahuatl who just featured on MSTR 13.
Corvus Corone is styled by TDSiGNZ, whose design skills consistently lend the Violent Cases sub-labels a fresh, disciplined minimalist touch. As he previously created for “Endless Night”... More is forthcoming - because the Violent Ravens nest has another spawn in the breed. Keep an eye out for their upcoming signs!
Mastering by Stefan ZMK.
A1 – Musicō'teka
20k rig in the catacombs of the pyramid of the sun. Join the war dance. 160 beasts
A2 - Tekno Drops (feat. Lil’ Nahuatl)
Serious old school dancefloor vibes under the wings of crows circling above. 170 beasts
B1 – Shaman Children
Inducing a long trancy journey heeding the shaman’s call. 170 beasts
Formed in Taipei in 2013, Scattered Purgatory (破地獄) has occupied a liminal space between drone, ambient, psychedelic folk and ritualistic kosmiche experimentation. Their early work, including ‘Lost Ethnography of the Miscanthus Ocean’ (2014) and ‘God of Silver Grass’ (2016), blended dense instrumental drones, improvisational guitar, and ambient textures rooted in the heat, humidity, and urban pulse of Taiwan. Over the years, the duo-turned-band has drawn on Krautrock, minimalist electronic music, and heavy drone traditions while remaining firmly grounded in Taiwanese geography and culture.
‘Post Purgatory’ emerges after a three-year hiatus following the pandemic, a period the band describes as pivotal to the album’s conception. “The feeling of loss and uncertainty has later become the inspiration of this record, and ‘time’ is the main theme – it can heal or it can destroy,” they explain. Musically and lyrically, the record traverses Taiwanese, traditional Chinese, and English, reflecting the multilingual fabric of Taipei life. While there isn’t a linear storyline, metaphor and poetry imbue the lyrics with reflections on love, loss, and the human experience, interlaced with influences of Hokkien and Mando pop and traces of trip-hop.
Recorded half in their home and half at the studio where they composed their first album, ‘Post Purgatory' integrates precision, clarity, and digital production techniques. Guest contributions—from White Wu’s dynamic drumming to Minyen Hsieh’s tenor saxophone and dotzio’s sci-fi-infused vocals—expand the band’s sonic palette, creating a doom metal record shaped by electronic sensibilities.
‘Post Purgatory’ is a statement of loss and re-empowerment, a bridge between their past and present. Through it, Scattered Purgatory reclaim their distinctive voice, presenting a sound that is at once rooted in Taiwan, informed by global musical traditions, and unflinchingly forward-looking.
credits
New and long awaited releases in the Jah Life reissue program. Al Campbell's "Collie Herb" was originally issued on Jah Life 12" in US & UK, and on Kaya 7" in JA. "World Crisis" was originally issued on 12" on the Reggae Sound label in NY. Killer ganja tune and reality tune, back to back. "Collie Herb" comes equipped with dub, while "World Crisis" is a deadly discomix.
Part 2 of our 1980 Taxi showcase, and it's heavier than the first. Here is one of Sly & Robbie's most loved productions, in its initial raw dubplate form. In August 1980, this raw cut of the haunting lovelorn classic first started to make its way out there on dubplate, in this spare, cavernous heavy mix without the synthesizer and syndrum sounds that would eventually adorn the final released mix. As tapes of these type of early mixes made for sound systems more often than not were not saved or archived, we're overjoyed to have located this one and brought it out. Like our previous Viceroys Taxi releases, this is some of the heaviest music of its day, in its pure initial form like you would have heard Shaka or other serious sounds playing thru the end of 1980.
Following our well received "Prince Philip Presents..." 2LP compilation, here's a lovely overview of the second phase of Philip's career, as engineer & producer at his own studio, HC&F. These ten tracks comprise our favorites from his production catalog, spanning the mid '80s when the studio really got going, right up until 1996 and his last set of proper productions. The album holds a mix of well known classics like the Garnett Silk, lesser known album only cuts like the Frankie Paul, NY dancehall 12" staples like the Scion Success or Shelene, as well as some lesser known gems. We'd be remiss in not mentioning that this album also contains two previously unreleased cuts - a wicked mid '80s Tony Tuff, and the wild vocoder laden 1985 theme song for Philip's "Get Smart" radio show, which ran for many many years on New York University's WNYU radio station.
SY3 (pronounced ‘sigh’) is a new project from LA-based Chinese-American artists Kelly Guan, Alex Ho, and Phil Cho. The trio started working on music together in 2023 after connecting over a shared love of Hong Kong New Wave cinema, Cantonese pop songs, r&b, and melody-driven dance music. Singer Kelly Guan aka Jia Pet has been independently releasing ‘bubbly’ pop music since 2022, and recently toured with the genre-bending indie artist Sasami. Multi-instrumentalists Ho (keyboards, saxophone) and Cho (guitar, bass) have collaborated frequently over the past decade, most notably on Ho’s 2021 debut album 'Move Through It' for Music From Memory.
Lead single ‘Tell Me,’ the track that initially caught the ears of MFM's Jamie Tiller and Tako, nods to the hazy downtempo explored by Chinese pop stars like Faye Wong and Zhou Xun in the ‘00s, while also recalling Japanese producer Yoshinori Sunahara’s iconic album 'Lovebeat'. Beyond musical influences, SY3’s neon-drenched pop songs draw from a cinematic language, particularly y2k-era films like Made in Hong Kong and Suzhou River, which speak to a generation of disillusioned youth in an increasingly fast-paced world. Guan’s lyrics depict characters caught in bittersweet love affairs (‘dial tone, when I’m alone, you promised we’ll be in touch') forever looking towards an escape from their current realities (‘I know the walls are high, these graceless hands are slipping’). Title track ‘梦游 Sleepwalker’ features a Cantonese spoken-word story about a sleepwalking young girl who sits alone on a balcony wondering where she might have gone the night before. The drifting ambient production loosely references a traditional Chinese folk melody, and closes out the EP with a delicate, layered saxophone solo from Ho.
Balancing intimacy with a wider emotional and visual language, SY3’s debut unfolds as a series of nocturnal pop vignettes shaped by memory, cinema, and place. Released digitally and on vinyl through Music From Memory on March 25th. Sleeve art and design by Michael Willis.
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The London based singer and keyboard player Dominic Appleton, known since the early eighties for his musical activity in the post punk/dream pop band Breathless, and perhaps even more for his vocal contributions to the legendary This Mortal Coil project on 4AD, joins forces with the Milanese producer and sound artist Matteo Uggeri, active from 1993 behind several projects spanning from industrial to post-rock and ambient soundscapes, known for collaborating with artists such as Maurizio Bianchi, Nocturnal Emissions, Controlled Bleeding, De Fabriek, OvO, Giuseppe Ielasi, Lau Nau, Giulio Aldinucci and many more.
Starlight Assembly’s first album, “Starlight and Still Air”, was released in 2021 by the American label Beacon Sound. In Italy the album received amazing reviews in all four of the main music monthlies. It was album of the month in Blow Up and Rockerilla ran a four page interview. Several articles and reviews were made, including a special issue on Foxy Digitalis by Brad Rose.
A remix project was launched afterwards, including old and new friends and fans of the two S.A. members: among the others, Robin Rimbaud/Scanner, Auscultation, Gabriel Saloman (Yellow Swans), Patricia Wolf, Insides, Julia Sabra with Fadi Tabbal, Sawako and Pan American.
The new album, “There Will Be Fireworks”, continues the duo’s complex cross-genres approach to music by melding Uggeri’s intricate musical textures with Appleton’s sweet and melancholic melodies, in this case even supported by the haunting guitars of Gary Mundy (in Breathless as well but also in Ramleh and Broken Flag’s label manager). The tracks on this album are more songlike, the journey more cohesive, with the artists playing more to one another’s strengths. The mastering will be done by Martin Bowes/Attrition, making it even more powerful and clean for its publication on Silentes (ex-Amplexus), historic italian label well known for releases by Rod Modell, Gigi Masin, Dirk Serries, Eraldo Bernocchi, Merzbow, Fabio Orsi and the latest releases by AUBE and much more.
1) WAIT FOR THE WORLD
2) TIME
3) THIS DESERT
4) ALL THE LOVE THE STANDS BESIDE US
5) MOTH TO THE FLAME
6) FRICTION
7) SYMPHONY IN MELANCHOLY
8) THE NOT DEAD
9) RELIEF
+
10) THERE WILL BE FIREWORKS (ghost track)
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Transversales Disques proudly presents the first official LP reissue of "Deserted Palace", studio album written & performed by Jean Michel Jarre in 1972, during his work experience at G.R.M. (Groupe de Recherches Musicales).
In 1971, an order was placed with producer Francis Dreyfus to provide sound for public places such as airports and libraries. He decided to pass the project on to Jean-Michel, who had recently been signed by his record company.
These fifteen tracks are made with only two synthesizers (EMS VCS3 & Farfisa organ) in an experimental and very minimal style.
"It was a crazy album, totally homemade, with rhythms that I made in my student room, with a minimum of equipment and at the same time electronic sounds that I stole from the GRM where I went at night after stealing the keys to the studios. It is a pirate record, in every sense of the word, in which we find what I did afterwards.” JMJ
Audio restored & remastered
Including cuesheet poster/ Limited edition of 500 copies
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"SAUDADE" (originally released September 10, 1982): 180g clear salmon pink vinyl Remastered and cut by Alex Wharton (Abbey Road Studios, London)
Produced by Narada Michael Walden and recorded at THE AUTOMATT in San Francisco, featuring T.M. Stevens on bass and Sheila E. on percussion.
A danceable, relaxed masterpiece where Takanaka’s ultimate resort-guitar sound truly comes alive.
"CAN I SING?" (originally released October 5, 1983): 180g clear blue vinyl Remastered and cut by Alex Wharton (Abbey Road Studios, London)
Takanaka’s 10th original studio album, showcasing his signature “singing guitar.”
With guest appearances by Takao Kisugi (vocals), Yuji Toriyama (rhythm guitar), Yoshihiro Naruse (Casiopea; bass), and Daiji Okai (Yonin Bayashi; drums).
Blending techno-based sequencing with Takanaka’s warm, expressive guitar sound, the album radiates energy and melodic joy.
Ebo Taylor, der ghanaische Gitarrist, Komponist, Bandleader und Produzent, ist eine wegweisende Figur in der Highlife-Musik. Remined freut sich, diese beiden Klassiker als 45er in Zusammenarbeit mit Mr. Bongo zu präsentieren. ,Will You Promise" und ,Maye Omama" sind beide aus Taylors 1976er Veröffentlichung ,My Love And Music" von 1976.
Die experimentellen Hip-Hop-Legenden dälek kehren mit ihrem neuesten Album ,Brilliance of a Falling Moon" zurück. Der Titel stammt aus einem Abschnitt von Erik Larsons Roman ,In The Garden of Beasts" aus dem Jahr 2011. Das Album zeichnet ein feuriges Porträt des Lebens und Widerstands im faschistischen Amerika. ,Brilliance of a Falling Moon" wurde von Will Brooks (alias MC dälek) und Mike Mare konzipiert, komponiert und produziert und ist ein weitläufiges, kompromissloses Album, das den politischen Ton der Gegenwart widerspiegelt. Aufgenommen in den Deadverse Studios der Gruppe im Laufe der Jahre 2024 und 2025 aufgenommen, werden die Beats von ,Brilliance of a Falling Moon" von brutalen, staubigen Drum Breaks angetrieben und sind in eine bedrohliche, jenseitige Atmosphäre gehüllt. Brooks' Reime zielen auf alles ab, von der Unterdrückung von Informationen durch den Staat über den Kolonialismus bis hin zu Trumps Dämonisierung von Einwanderern, und sie brennen geradezu vor Empörung über den aktuellen Zustand der Welt.
The Fall were an English post-punk band, formed in Manchester in 1976. The band existed in some form ever since, and was essentially built around its founder and only constant member Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group's music went through several stylistic changes over the years, but is often characterised by an abrasive guitar-driven sound and frequent use of repetition, and was always underpinned by Smith's distinctive vocals and often cryptic lyrics. The band was noted for its prolific output: and released over 25 studio albums, and more than triple that counting live albums and other releases. They have never achieved widespread public success beyond a handful of minor hit singles in the late 1980s, but maintained a strong cult following. The band were long-associated with BBC disc jockey John Peel, who championed them from early on in their career and cited The Fall as his favourite band, famously explaining, "They are always different; they are always the same.
Hurts Like Hell ist Charlotte Cornfields sechstes Album und das erste, das sie seit der Geburt ihrer Tochter aufgenommen hat - ein Wendepunkt für sie als Mensch und Künstlerin. Die wiederkehrenden Themen des Albums - persönliche Entwicklung und Erneuerung, die Beständigkeit der Liebe trotz Schwierigkeiten, Scham und Unbeholfenheit - haben dort ihren Ursprung. ,Diese Erfahrung hat mich aus mir selbst herausgeholt und mir eine andere Sichtweise auf die Dinge gegeben", sagt sie. ,Die Verletzlichkeit, Zerbrechlichkeit und Wildheit des Ganzen haben dazu geführt, dass ich mich weniger auf mich selbst konzentriere und mehr Abstand gewinne." Hurts Like Hell ist das offenste und stimmgewaltigste Album ihrer Karriere und auch dasjenige, an dem am meisten mitgearbeitet wurde. Cornfield zog sich in Philip Weinrobes Sugar Mountain Studio in Brooklyn zurück und wurde von einer kompletten Begleitband unterstützt, darunter El Kempner von Palehound, Bridget Kearney von Lake Street Dive, Adam Brisbin und Sean Mullins, mit wichtigen Beiträgen von Núria Graham und Daniel Pencer. Cornfield holte dann Feist, Buck Meek, Christian Lee Hutson und Maia Friedman als Gastsänger für das Album dazu. Das Ergebnis dieses Prozesses wird sofort in der Lead-Single ,Hurts Like Hell" deutlich, einem von Country-Klängen durchdrungenen Sehnsuchtslied, das Cornfield als ,eine Liebesgeschichte schüchterner Menschen" bezeichnet, wobei die Band Cornfields eigenwilligen Flow aufnimmt, als wolle sie das Herz ihrer Protagonistin wiegen. Dass der Song so verletzlich und so lebendig ist, ist eine Frage des Vertrauens zwischen Cornfield und ihren Bandkollegen, untereinander und in ihr Bauchgefühl. Ihr Sound liegt irgendwo zwischen Nashville Skyline und Harvest - eine warme, reichhaltige Antwort auf ihren verletzten, aber suchenden Ruf. Ein Großteil der Magie von Hurts Like Hell entsteht in dem Raum, den Cornfield für Harmonie schafft. Von Meek oder Hutson aufgegriffen, werden die Charaktere wie mit einem Pinselstrich zum Leben erweckt. Wenn Kempner oder Kearney hinzukommen, entsteht eine schillernde Facette der natürlichen, blitzartigen Chemie ihrer Band. In ,Kitchen" spiegelt Friedman Cornfields Erstaunen darüber wider, dass sie sich verliebt hat, und bringt die Emotion auf ihren ätherischen Höhepunkt. In ,Living With It" wird sie von Feist begleitet, die Cornfield über einen Gruppenchat für Mütter, die als Musikerinnen auf Tournee sind, kennengelernt hat. Cornfield ist mit den Narben ihrer Vergangenheit und der Hoffnung für die Zukunft zu diesem Album gekommen. Sie hat sich selbst von außen betrachtet und überlegt, was sie mit ihrer Musik nach der Geburt ihres Kindes erreichen will. Dabei war sie mutig genug, um Freiraum, Zeit und Hilfe von vertrauten und unerwarteten Quellen zu bitten - einem Gruppenchat, Songwritern, die sie bewundert, aber nicht persönlich kennt, Freunden, deren längst vergessener Song ihr den Refrain für einen neuen Song geliefert hat. Jedes ,Ja", jede Sprachmemo, jede geteilte Datei, jede offene Tür führte zu diesem Moment in Charlotte Cornfields Karriere. Nenn diesen Moment, wie du willst - eine Erweiterung, eine Wiedergeburt, ein Durchbruch - Hurts Like Hell ist groß genug, um ihm gerecht zu werden, und hat nichts von Cornfields Charme, Witz oder Dringlichkeit verloren. Es ist gleichzeitig eine Bestätigung ihrer Stellung unter den großen Singer-Songwritern ihrer Generation und die erste Formulierung ihrer Zukunft, egal welche Unsicherheiten und welche Liebe sie mit sich bringen mag.
