Pop & Rock Vinyl New Releases - News

Globally renowned for his vibrant, melodic sets and productions, Brasil's DJ Marky has been playing records for over a quarter of a century, making his debut at the tender age of twelve (yes, really). In the late 90's, Marky's fresh energy and eclectic influences provided a much-needed tonic for the UK's Drum & Bass scene, his sun-drenched crossover anthem 'LK' eventually entering the UK Top 20 in 2002. The intervening years have been spent spinning records all over the world to rapt audiences, as well as absorbing more and more wide-ranging global sounds to add to his distinctive style. Marky's long awaited debut album finally dropped in 2015, aptly titled 'My Heroes', reflecting this uncommonly humble artist's habit of constantly championing his favourite musicians and musical inspirations. With this unselfish spirit firmly in mind, we are proud to announce the release of 'Influences Vol. 2', a compilation album and DJ mix showcasing a selection of Marky's favourite music, created with a healthy disdain for genre-puritans and an emphasis on fun. Taking in traditional Brazilian music, disco, acid jazz, early house and of course a little Drum & Bass, 'Influences' is more of an invitation to a barbecue in the São Paulo sunshine than a chin-stroking 'back to mine' selection. Few artists display the ability (or the will) to transcend the genre in which they most thrive, but Marky is quickly establishing himself as a powerful tastemaker, perhaps even South America's answer to Gilles Peterson or Laurent Garnier. Fans will revel in the acid house and latin rhythms which provide much of the DNA of his Drum N Bass stylings, while casual listeners will simply discover a seamless music journey through a breathtaking number of eras and styles. A music-lover and fan first and foremost, Marky's infectious enthusiasm for his craft has never been more evident than on this very special record.

A combination of fusion jazz with a pinch of unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, still evoke a refreshing feel of modernity in the same vein as many other experimental Argentine and Uruguayan artists from the same era.
Reissued on vinyl for the first time, including insert with liner notes and previously unseen photos. Definatly worth a check by those who are into the excellent Music From Memory 'Outro Tempo' compilations. TIP!

"Few musicians can boast of having played with “the greatest” without some eyebrows to be raised. The bass of Adalberto Cevasco has been heard in multiple concerts and recording sessions of artists as diverse as the Spanish divas Rocío Jurado and Isabel Pantoja, tango genius Astor Piazzolla or the cream of the Argentine jazz scene –from

Pocho Lapouble, Gustavo Kerestezachi, Rubén López Furst or Andrés Boiarsky to the great Gato Barbieri– With the latter, as part of a dream band that included artists like Nana Vasconcelos as well as other Argentines such as Lapouble or Domingo Cura, he recorded two fundamental pieces in the Impulse! label catalogue in sessions held in Argentina and Los Angeles and also toured across various countries. The daily sold-out shows at the Regina Theater in Buenos Aires and their overwhelming performance at Montreux Festival are still well remembered. It is therefore out of question that Adalberto Cevasco belongs to that top-level league of musicians whose talent has also contributed to enhance those who accompany them.

The history of this album begins with an encounter. Adalberto Cevasco joins Rodolfo Alchurrón’s jazz-funk project Sanata y Clarificación as bassist and meets Litto Nebbia, who is invited to sing along. Some years on, when Nebbia’s Melopea record company was developing, he would receive a cassette with a collection of demos recorded by Cevasco over the years. Some of the songs dated back to 1981 while others were made well into the decade and included such outstanding collaborations as that of the Uruguayan Rubén Rada, whom Adalberto Cevasco had met playing in a group of fusion candombe called Candonga. In addition to producing the complete album, Nebbia would also collaborate in a special way in one of the most outstanding tracks (Reencuentros Nº2) by adding to Cevasco’s fusion jazz some unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, they still evoke a refreshing feel of modernity.

As the Argentine press of the moment highlighted, it’d seem as if the influences received and developed by the bassist during his career as a freelance musician – from post-Piazzolla tango to proyección folclórica (a movement of revision and modernization of the Argentinian musical roots) – had been added to their superb rhythmic work in this album. “Pájaros Eléctricos” was never presented live and has remained as the only published work by Cevasco as a soloist since the date of its release."

LTD GREEN VINYL

Where's Joao Donato? It's a frequently asked question, referring simultaneously to the physical location and the musical moment he inhabits. A sampling of some of his more descriptive song titles suggests Donato's comfort with musical hybrids: "Bluchanga," "Sambolero," and "Sambongo," to name just a few. Lacking a formal genre for his style of music, Donato's is a distinct sound, immediately recognizable from the first few bars of any of his compositions. He was funky back when "funk" was a bad word (listen to either of his 1960s Brazilian LPs, Sambou, Sambou and The New Sound if Brasil, for proof). His compositions are deceptively simple, while his arrangements are harmonically complex, revealing their intricate details upon repeat listening. Today, Donato brings this flavor, now near synonymous with his name, to a new album in the Jazz Is Dead series with Adrian Younge and Ali Shaheed Muhammad: Joao Donato JID007. "Donato is one of the greatest Brazilian composers from that golden era. His signature style, simple melodies combined with colorful chordal progressions, establishes a new lane for Jazz Is Dead," explains Younge. "Joao is one of the most innovative Brazilian jazz composers of the last century. Creating with and learning from this maestro was one of the greatest experiences of my career."

Magical is a fusion of a dozen genres, where every song opens up like a Russian doll, splitting into real songs within the song.
Hundreds of details are part of the different sonic worlds in which each song progresses.
Magical is no doubt hard to decipher for very good musicians, but it's easy to dance to for very normal people.
Since the orchestral introduction of the first song your senses will be automatically taken on a journey between irony and sadness, emotional intensity and vibing, extreme nerding and introspection. Magical is a dream that, through sound illusion, makes you meditate on the meaning of life, death and love, three fundamental topics in the album lyrics.
The album is a leap into a future where no tradition is missing.
Just a perfect way to discover the surprising world of Ze in the Clouds.

Ze in the Clouds is a cutting edge multi-instrumentalist and producer.
He created his own compositional style as the result of his jazz origins and his continuous studying and evolution. He shares his thousand faces without any stylistic boundaries with people and musicians who have the same vision.
Born in the Po Valley of Northern-Italy at the end of the last millennium, from a very young age Ze attracted the attention of promoters and artistic directors of the new avant-garde scene linked to jazz and electronic music. JazzMi and Jazz:Re:Found, the two most influential Italian festivals to focus on this kind of artistic proposal, immediately understood the potential of his amazing talent, showcasing him in their lineup. Jazz:Re:Found, captivated by his unique and inimitable style, decided also to reward his genius by inaugurating the catalog of the new record label project "Time is The Enemy" with his debut album.

Released on 180g vinyl w/ tip-on sleeve.

Taking cues from Dorothy Ashby and Alice Coltrane at their most delicate, renowned Welsh harpist Amanda Whiting's mesmerising Jazzman full-length LPAfter Darkarrives as soft as moonlight to gladden the soul and delight the ear—without forgetting to bring the swing.

Summoning the nocturnal mood suggested by the album's title, Whiting's harp flows and cascades, dances and alights, broods and haunts, informed by a deep understanding of both classical and jazz music, ultimately revealing a top-drawer composer with rare melodic gifts at the top of her game. From the melancholy opening track 'Time Stands Still' to the more rhythmically unorthodox 'Who Knows' to the achingly beautiful title track, the album is underpinned by a supportive band, John Reynolds on drums and Aidan Thorne on bass, who are perfectly suited to engage in an effortless, intimate musical dialogue.

Already an inveterate international jazz festival performer with Matthew Halsall's Gondwana Orchestra, Whiting has supported and performed with a diverse range of Djs and jazz and pop artists including Jamie Cullum, DJ Yoda, Rebecca Vasmant, True Jazzchild, Danii Minogue, Jazzanova, and Chip Wickham (who features on three tracks onAfter Dark,adding a touch of the graceful warmth for which he has been so justly acclaimed). And as Jazz harp teacher at the Royal Welsh College of Music and Drama, the Royal Birmingham Conservatoire, and RNCM, Amanda is as warmly received in the lecture hall as the concert hall. Be sure to to expect more from Amanda in the not too distant future.

Der Ausnahmeproduzent Flying Lotus legt nach seinem vielbeachteten Debutalbum "Los Angeles" den Nachfolger vor! Auf "Cosmogramma" weitet er das Spektrum der integrierten Stile in Richtung Space-Jazz aus und lädt ein zu einem kosmischen Trip voller unendlicher Liebe und Begeisterung für Musik in all ihren Variationen.

Teranga Beat proudly presents the drummer-composer Yannis Angelopoulos, aka Jan Van and his last project "Streams". A well known musician in the Athens jazz scene, accompanied by three fellow musicians, he created an album with a tough= background story.

Jan Van started as a drummer in clubs playing popular greek music (laïka) even before he was 18, a typical first step for a musician in Greece. In this way he experienced the underground and in fact the surrealistic atmosphere of the laïka greek clubs. At the age of 20, he started working as a roadie (installing drums) and it was then that he realised a drummer can be a musical directorproducer and not just a session musician. So he decided to continue his education and in 1996 he went to study at the Rotterdam’s Conservatorium's (Codarts) Jazz Department, where he stayed for seven years. Soon after his return to Athens he started wondering how to fuse jazz with laïkodimotiko (lumpen, popular music), something detectable in his recent discography.

Since the mid ‘00s, Jan Van has been working on various jazz projects in Athens, even though the years preceding the 2010s were something of a tough period for the local scene, with limited live opportunities. Furthermore, since 2010, Greece has famously been at the epicentre of the global financial crisis. In an already dysfunctional cultural system during this decade, culture eventually became a luxury. Following ten years of recession, in March 2020, the Covid-19 pandemic destroyed the efforts of the country that was struggling to recover and took away any hope.

Under high psychological pressure, Jan Van had the idea of a jam session as a way-out for expression. At the same time, the particular concept of water and its properties were stuck in his mind. Water’s fluidity and momentum and the idea of a quiet streaming state, shaped the only concept he eventually shared with his fellow musicians before starting to play. He only wanted them to have the energy of the water as a reference.

By the end of May, a few days after the end of the lockdown, they gathered in a studio and recorded a live session of spontaneous compositions and improvisations. During that session each musician took a step back to listen and give space to one another. None of the tracks was composed before the recording. The result is a deep album which consists of organic beats with spiritual jazz vibes, sometimes exploring fusions with demotika (traditional) elements, sometimes leaning to cinematic atmospheres.

The recording was mixed on 2 inch reel tape with analog equipment, to achieve the best possible sound quality. The LP version of the album is a Deluxe Edition and comes with a high gloss laminated gatefold cover and a digital download code.

Amsterdam based SMANDEM. proves that an incredible skill set and open minded approach causes genre distinctions to blur into pure energy. Inspired by the likes of Herbie Hancock, Christian Scott and Wayne Shorter as well as Travis Scott and Drake, the four-headed collective produces a sound that is deeply rooted into jazz tradition, while never restrained to any style boundaries or formal etiquette. They strive forward and explore ways to marry their delicate ability with present-day popular music. With a strong friendship at core, their dynamic live-show feels like it effortlessly accelerates from lush harmonies into colourful mixtures of dense rhythms and fierce improvisation. Including features by Herbie Hancock flutist Elena Pinderhughes (USA) and NL based talent Pink Oculus, their debut EP called ‘Self-Titled’ - set to release on Super-Sonic Records early 2021 - exemplifies best what this free-spirited mandem is up to.

SMANDEM. - consisting of Aäron Bouwman (Bass), David Nino van der Grinten (Keys), Rafael Devante Sinay (Guitar) and Kick Woudstra (Drums) - first met during their studies at the Conservatory of Amsterdam. They were quick to find out that they shared similar perspectives and were meant to play with each other. Their stunning synergy even got picked up by Kelly Coker, dean of New York’s famous New School of Jazz and Contemporary, quoting; “There’s never a feeling of trying too hard and that made it an absolute joy to listen to you. You guys don’t sound like Weather Report, but feel like Weather Report ''. Getting support from several local Amsterdam platforms such Super-Sonic Jazz, SMANDEM. sets out on a journey of becoming a vanguard in modern day music.

A philosophy that describes one the fundamentals of the band's music and personalities is; “There’s often confusion about the meaning of the words tradition and history. The tradition has a history, which we study to keep the tradition alive. The jazz tradition to us means communicating a mixture of styles and cultures. We share a love for present-day popular music and strive to create a sound that combines all of our influences into something relevant.”

Compilation pressed onto a collector’s LP picture disc, featuring some of the finest artists from the earlier days of jazz.

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

Soul Jazz Records new ‘Cold Wave’ is a new collection of current electronic artists who have all been shaped by the early European cold wave artists of the late 70s and early 80s. This is the first release of Soul Jazz Records’ new Cold Wave overview and a second volume will be released just four weeks later. These first artists created new electronic musical landscapes as well as pursuing a stubborn D-I-Y aesthetic, often releasing material on cassette and pioneering use of lo-fi technology, primitive drum machines and home-recording
techniques. As part of this continued evolution today many of the artists featured here also self-release their own material, run labels, publish fanzines, or are part of wider musical collectives. Aside from the first electronic, no wave, and post-punk artists cited as influences – Suicide, Patrick Cowley, The Normal, Martin Hannett, Laurie Anderson, Public Image – this new generation of artists also show an exquisitely open source of electronic and disparate influences, everything from Underground Resistance to Purcell, from Scientist to New Beat and more besides. Most of the featured artists are based in Europe and include Krikor, Dissemblance and VQOA from France, De
Ambassade from the Netherlands, Moisture from Sweden, Kreidler from Germany, Celine Gillian and Carcass Identity from Belgium. One exception is FIT Siegel out of Detroit, connecting the electronic pathways of Europe to the Motor City.

Orange Vinyl

Soul Jazz Records new ‘Cold Wave’ is a new collection of current electronic artists who have all been shaped by the early European cold wave artists of the late 70s and early 80s. This is the first release of Soul Jazz Records’ new Cold Wave overview and a second volume will be released just four weeks later. These first artists created new electronic musical landscapes as well as pursuing a stubborn D-I-Y aesthetic, often releasing material on cassette and pioneering use of lo-fi technology, primitive drum machines and home-recording
techniques. As part of this continued evolution today many of the artists featured here also self-release their own material, run labels, publish fanzines, or are part of wider musical collectives. Aside from the first electronic, no wave, and post-punk artists cited as influences – Suicide, Patrick Cowley, The Normal, Martin Hannett, Laurie Anderson, Public Image – this new generation of artists also show an exquisitely open source of electronic and disparate influences, everything from Underground Resistance to Purcell, from Scientist to New Beat and more besides. Most of the featured artists are based in Europe and include Krikor, Dissemblance and VQOA from France, De
Ambassade from the Netherlands, Moisture from Sweden, Kreidler from Germany, Celine Gillian and Carcass Identity from Belgium. One exception is FIT Siegel out of Detroit, connecting the electronic pathways of Europe to the Motor City.

Pedro Zopelar (@pzopelar)is a musician, producer and DJ based in São Paulo, Brazil. Known for his many different projects like the duo “My Girlfriend” with Benjamin Sallum, the electronic performative act “Teto Preto” and his effervescent party “ODD” - Zopelar presents “Universo” on Apron Records! a collection of 9 tracks that represents the actual direction of his solo work

Maximum Crisis/Maximum Calm was released within the context a solo exhibition by Rory Pilgrim at Badischer Kunstverein in 2020. The LP is based on the soundtrack of the 50'min film "The Undercurrent". Produced in collaboration with ten young climate activists from Boise, Idaho, the film and its soundtrack is a powerful statement about the era of climate crisis that explores how people are coping with this global issue on intimate and personal levels.

While musical composition has long been a core aspect of Rory Pilgrim's practice,Maximum Crisis/Maximum Calm - featuring the singers Declan Rowe John and Ezra Hampikian - is the first vinyl release of the artists's music. Interweaving spoken reflections and songs including The Towel, 3 Waters and Regenerate the Engine, the LP also features additional songs and spoken word material extracted from the film. With orchestral parts also masterfully arranged by Pilgrim for the Up North Session Orchestra the record culminates with a moving speech given at the youth climate strike at the Idaho State Capitol on September 20, 2019 by activist Liam Neupert.

Gilles Peterson has partnered with Jean-Paul “Bluey” Maunick to reinvigorate the loose, protean energy of the early-80s Brit-funk scene. STR4TA sees them mine new musical possibilities outof that shared formative era. On “Aspects”, they revisit that

important period and the spirit that guided it: self-taught, DIY vitality, and a raucous energy built on live performance. Bringing a fresh slant to a sound first developed by groups like Atmosfear, Hi-Tension, Light of the World and Freeez – with Maunick, it should be noted, also a member of the latter two bands – it’s the first material that Maunick and Peterson have released together in over a decade.

It’s an idea that had been in the works for a while, but which was encouraged by a surprising catalyst: the award acceptance speech by Tyler, the Creator at the 2020 Brit Awards, where he shouted out the influence of “British funk from the 80s”. It was an acknowledgement of the particular sound that Maunick and his peers had honed, where their US influences were reoriented through their own circumstances. “Like everybody else who plays music, we tried to emulate our heroes,” Maunick says. “But we didn’t have the tools, we hadn’t studied music: were all playing by ear, and we were coming off bits and pieces that we liked off certain records.” This record is guided by the same ethos. An array of musical touchpoints have fed into the album’s direct, no-frills entries: each track’s parts are cut back to the bare bone. In writing and recording the album, the pair of them would work together to strike upon the point of departure – more naive, less considered – that had produced that killer Brit-funk sound. Peterson would dig out records that showed particular flashes or moods as jumping off points, and Maunick would then work with collaborators to build new directions out of those prompts or suggestions.

It’s the latest chapter in a story that started with Peterson interviewing Maunick in his parents’ garden shed, the first interview that the former had ever conducted. Later, they would reconnect to put out a string of celebrated Incognito albums on Peterson’s pioneering, now-defunct Talkin’ Loud imprint. Now, linking up once more, they unpick an under-appreciated flashpoint in a vital musical lineage, one which each of them has been instrumental in shaping.

Introducing the debut release on brand new Belfast-based Funk & Soul Record Label Superfly Funk & Soul Records

Based in Northern Ireland, Hammond Organ Trio The Organauts have been together since 2015 and have a sound drenched in a unique blend of funk & soul. Their debut single 'I Feel Love' is a cover of the 1977 hit by the 'Queen of Disco', Donna Summer. Bombastic power chords and invigorating electric guitar riffs indulge us with their take on this well-known classic. Played and supported heavily by Craig Charles at BBC Radio 6 Music & Eddie Piller on Totally Wired Radio amongst others.

Zurich based drummer Arthur Hnatek presents his first trio record, ‘Static’.
Joined by his equally fearless bandmates Fabien Iannone on bass and
Francesco Geminiani on tenor sax, this is music created by a classic jazz line-up and steeped in improvisational facility, yet simultaneously utterly unlike anything in the standard jazz tradition.
Available as a high quality 6 panel digipak CD with a velvety soft-touch laminate finish, and a high quality 180 gram yellow vinyl, 12” LP - comes with download code containing the digital album in multiple formats.
Hnatek is one of a new breed of players who see their music as a continuum stretching between genres, always thinking in terms of links rather than boundaries, possibilities rather than limits. His time spent playing drums with similarly adventurous and unclassifiable artists Tigran Hamasyan and Shai Maestro opened his ears to the possibilities of rhythmic variation: his immersion in electronic music production and the motorik tradition of Jaki Liebzeit alerted him the possibilities of repetition.
The bulk of the album was written by Hnatek, paying close attention to the details and textures, and drawing a range of different sounds from the drum kit: ‘I like the idea that you can have very complicated rhythms, but played in a repetitive way that sounds natural, and where the binaries of ‘written’ and ‘improvised’ aren’t too clear’.
Alongside the written tracks, the trio created a wealth of spontaneous improvised music in the studio, and Hnatek has hidden snippets of these soundscapes into parts of the album for the listener to discover.
This is a unique record, at once spacious and complex, full of light and shade, elusive but direct.
Personnel: Arthur Hnatek (drums), Francesco Geminiani (tenor saxophone), Fabien Iannone (double bass)

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Aura Safari is an Italian Jazz / Fusion quintet consisting of Nicholas Iammatteo, Alessandro Deledda, Lorenzo Lavoratori, Daniele Melloni and Andrea Moretti.

Each member of the band comes from different musical backgrounds like Jazz, 80's Boogie, World Music, Italo House, Balearic Beats, Jazz Funk and soundtracks. What most influenced them was spending years in the local scene of Perugia (Italy) attending Umbria Jazz Festival every summer and winter nights at the legendary Red Zone Club.

This is the first 7 inch release for the band, we are very excited and honoured to have them on Terrasolare! On the A Side we have Niagara a truly emotional waterfall! A Jazzdance track à la Incognito melted with cinematic atmospheres. The perfect soundtrack to drive your convertible down the seafront on a hot summer day during sunset.

On the flip we have Agua De Luna, where we left the sunset drive behind and we move to downtown under an exotic full moon light where the night begins… dreamy synth line, Fender Rhodes and slapped jazz funk bass line… we leave the rest to your imagination…

As always mastered and manufactured by Timmion Cutting. Comes with silver pantone label and premium brown paper sleeve.

“Maestro melodist Christophe Petchanatz (aka Klimperei) and all around music fanatic David Fenech engage remotely in a repetitive exchange of recordings and overdubs on their debut album titled ‘Rainbow de Nuit’, sporadically spanning over the last decade. Evocations of experimental and improvised jazz, chansonesque songs, bluesy folk, and outsider music undulate harmoniously across the record. From music boxes and walkie-talkies down to plastic straws, plucking various stringed instruments such as the charrango and banjo, kazoos and snake-charmer ocarina and flutes, all the way through the sweet accordion and melodica, found and traditional tuned percussion - there is far from a shortage of sound sources on this freakishly inviting record. What germinates as an imaginative and emotional chord progression played by Klimperei, evolves with Fenech layering additional recordings, which would then find their way back home to Klimperei yet again, and so on, and so forth. This recursive compositional and improvisational loop, combined with Fenech’s musique-concrete-like mixing and editing techniques, transforms the acoustic recordings by way of compression, saturation, and reverberation or simple pitch changes - resulting in the duo’s recordings seemingly sound like they may very well be an octet in real time. While the majority of the recordings have been ping-ponged remotely, David and Christophe unite under one roof to record the closing track of the album.

The pieces presented on ‘Rainbow de Nuit’ treat the ears to a carousel ride waltzing through a multiverse made up of surrealist puppet theaters, dramatic film noir act changes, and a mosaic of polyphonic instruments and toys alike. In other words, a score to a fable brought to life with haunting yet charming melodies and occasional hallucinatory voices reminiscent of laughter and infantile epiphanies which we hear on Tarzan en Tasmanie and Madrigal for Lola. This is taken a step further by Fenech, to a brief libretto of incomprehensible tongues on Pocarina. Amid the mysterious and dark (Septième Ciel and Rugit Le Coeur) also lies tender and simple compositions (Rainbow de Nuit and Chevalier Gambette), murky suspenseful melancholy (Levy Attend and Eno Ennio), and casually slipping into pensive psychedelic backdrops (Un Cercueil à Deux Places) - forming a colorful blend of sounds. A world of echoes. A tale of tales. One persistent earworm that you’ll likely be whistling and humming along to on a first listen.”

Real Real World is the first collaborative effort from Nantes-based Australian drummer/percussionist Will Guthrie and Australian keyboardist/composer James Rushford. Primarily recorded in a fluid, spontaneous studio session in Nantes, with overdubs added later in Melbourne and Nantes, Real Real World presents five spacious, unhurried pieces that inhabit a unique sound world characterised by wheezing, half-voiced organ chords, chiming metal percussion, and eruptions of small sounds. Beginning with the eerily beautiful, shakuhachi-esque sound of Rushford performing on detuned portative organ, the opening title track is abruptly transformed by the entry of Guthrie’s sizzling cymbals, deep gong strikes, and rustling hand percussion. On the epic ‘Lumbering’, which occupies the majority of the record’s first side, organ chords define a space in which a kaleidoscopic succession of amplified thuds, chiming bells, rustled and dragged objects, and abruptly silenced clusters advance and recede in an oneiric blur, eventually making way for a passage of Guthrie’s virtuosic polyrhythms, itself unexpectedly overtaken by waves of melting fairground organ. The record reaches an energetic climax mid-way through the second side with the stunning ‘Slakes’, where lugubrious chords in the organ’s lowest register are joined by Guthrie’s skittering rhythms, which somehow manage to call to mind both the most chaotic moments of Balinese Gamelan and the stochastic breakbeats of late-90s Autechre. On this piece, Guthrie and Rushford are joined by Melbourne saxophone maverick Scott McConnachie, who contributes an alto sax solo of burning precision, working with a single-minded palette of piercing long tones and wild intervallic leaps. Though it makes extensive use of overdubbing, Real Real World retains a strong sense of having been performed, rather than constructed: while at times the fleeting succession of events can recall electroacoustic music, its primarily acoustic nature and unhurried pace is also reminiscent of the music of AACM affiliates or Marion Brown’s classic Afternoon of a Georgia Faun. Immediately engaging while also hiding countless details in the folds of its polychrome fabric, Real Real World is a relaxed and joyous document of collaborative musical invention.

Artwork by Patrizia Bach. Layout by Lasse Marhaug. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

From Tumaco, in the deep pacific coast of Colombia, Plu con Pla carries forward essential styles such as Bunde and Currulao, which were created by the African diaspora in response to the realities of life in this coastal jungle territory. The musical language of the South Pacific region is traditionally interpreted with a marimba handmade from the wood of the Chontaduro palm tree and resonating tubes of Guadua (similar to bamboo), a large, two-sided bass drum called the bombo, two slender, high-pitched drums called cununos, and cylindrical shaker called a guasá, along with powerful call and response vocals. Plu con Pla brings a mastery of this language and repertoire together with an urgency of exploration and growth, incorporating hard-hitting urban styles such as Hip Hop and Reggae into their expression, and bringing Bass, Drum Set, Keys, and more into the mix. True to their roots, collective process and social justice consciousness is central to both their music and their actions, with lyrics that address hard themes such as racism and civil war, and a continuing commitment to teaching, leading workshops and accompanying the peace process in Colombia.

An unholy grail of near mythical status finally joins the Finders Keepers Records discography in the form of this first-ever reissue of Masahiko Sato's elusive sensual psychedelic free jazz score to the stunning Japanese witchcraft animation Belladonna Of Sadness (Kanashimi no Belladonna) directed by anime screenwriter Eiichi Yamamoto in 1973.
An early feature-length example of a micro-genre in which Japanese anime producers collaborated with the 'pink' film genre, Belladonna's challenging occult, sexual and political subject matter was the cause of the film's notoriety for many years, earning Yamamoto's work a critical platform amongst some of the best counterculture animation films of the era such as La Planète Sauvage ( René Laloux/Roland T poor, France 1973), Marie Mathématique (Jean-Claude Forest, France 1967), Wizards (Ralph Bakshi, US 1977), Heavy Metal (Gerald Potterton, Canada 1980) and Time Masters (René Laloux/Moebius, France 1982). Drawing further stylistic similarities with Shuji Terayama/Tenjo Sajiki associated poster artist Aquirax Uno and the Hara-Kiri magazine cartoon strips Pravda/Jodelle by French artist Guy Peellaert, as well as the early flamboyant Klimtesque imagery of Jean Rollin collaborators Philippe Druillet and Nicolas Devil, Belladonna Of Sadness brought a strong European flavour to its sophisticated and stylish Japanese application which accentuated the French origins of the plot loosely based on accounts taken from the 1862 book La Sorcière (The Witch) by French historian Jules Michelet.

Over the last decade Belladonna Of Sadness has risen from the ashes and now shines brighter than ever. Now on the eve of its third or fourth global DVD release, fans no longer have to wait four months for third generation VHS telecine rubs from 'that guy' in the States, or stuff their ambitious wish lists into the hands of any lucky friends visiting Tokyo in the summer. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers and other creative types along the way.

Original copies of the soundtrack, however, are much less likely to rear their heads on a weekly basis, with prices literally doubling each time the original stock copies swap hands amongst the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, as I'm sure you'll agree, has got extra credentials. Finders Keepers Records, in direct collaboration with Sato himself, agree that this record should finally be liberated amongst those who know the magic words. With our decision to keep this album 'strictly Sato' we removed a track - the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana, which in all honesty is very much detached from Sato's psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato's then wife Chinatsu Nakayama, including the track entitled TBFS (answers on a postcard) that only appears on the master tapes and never actually made it to the theatrical cut of the film (although the theme is briefly alluded to, in different instrumentation, in a cut-scene available on the German DVD). This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in both film music, jazz and avant garde composition

Cumbia chiptune heads get ready!

Solo Moderna is coming strong and mad!

Too long overlooked, multi instrumentalist Dutch producer, master of broken-sounding toys and possessed electronic puppets is bring you this exclusive dancehall anthem banger on 7"; a digital cumbia chiptune homage to Jamaica at his very own unique freaked-out style.

This little beauty is announcing a full length album to be released in November 2019. So stay tuned, and don't miss this double-sided delight that will set the dance floor on fire.

Mit der BLUE NOTE CLASSIC VINYL SERIE wird die Reihe preiswerter Blue-Note-LPs fortgesetzt! Die audiophile TONE POET SERIE von Blue Note ist ein großer Erfolg, aber richtigerweise will das Label seinen Fans nicht nur diese entsprechend hochpreisigen Spezialitäten bieten. Daher wird ab sofort zusätzlich die BLUE NOTE CLASSIC VINYL SERIE die großen Klassiker des Labels zu einem guten Preis und nicht limitiert veröffentlichen. Die bei Optimal gefertigten 180g Pressungen sorgen auch hier für eine sehr gute Qualität.

Former member of Rodolfo Alchourrón and Gato Barbieri's bands, Cevasco's first solo effort is a combination of fusion jazz with a pinch of unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, still evoke a refreshing feel of modernity in the same vein as many other experimental Argentine and Uruguayan artists from the same era. Includes guest appearances from artists such as Litto Nebbia or Ruben Rada. Reissued on vinyl for the first time, including insert with liner notes and previously unseen photos. Details: Few musicians can boast of having played with "the greatest" without some eyebrows to be raised. The bass of Adalberto Cevasco has been heard in multiple concerts and recording sessions of artists as diverse as the Spanish divas Rocío Jurado and Isabel Pantoja, tango genius Astor Piazzolla or the cream of the Argentine jazz scene -from Pocho Lapouble, Gustavo Kerestezachi, Rubén López Furst or Andrés Boiarsky to the great Gato Barbieri- With the latter, as part of a dream band that included artists like Nana Vasconcelos as well as other Argentines such as Lapouble or Domingo Cura, he recorded two fundamental pieces in the Impulse! label catalogue in sessions held in Argentina and Los Angeles and also toured across various countries. The daily sold-out shows at the Regina Theater in Buenos Aires and their overwhelming performance at Montreux Festival are still well remembered. It is therefore out of question that Adalberto Cevasco belongs to that top-level league of musicians whose talent has also contributed to enhance those who accompany them. The history of this album begins with an encounter. Adalberto Cevasco joins Rodolfo Alchurrón's jazz-funk project Sanata y Clarificación as bassist and meets Litto Nebbia, who is invited to sing along. Some years on, when Nebbia's Melopea record company was developing, he would receive a cassette with a collection of demos recorded by Cevasco over the years. Some of the songs dated back to 1981 while others were made well into the decade and included such outstanding collaborations as that of the Uruguayan Rubén Rada, whom Adalberto Cevasco had met playing in a group of fusion candombe called Candonga. In addition to producing the complete album, Nebbia would also collaborate in a special way in one of the most outstanding tracks (Reencuentros Nº2) by adding to Cevasco's fusion jazz some unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, they still evoke a refreshing feel of modernity. As the Argentine press of the moment highlighted, it'd seem as if the influences received and developed by the bassist during his career as a freelance musician - from post-Piazzolla tango to proyección folclórica (a movement of revision and modernization of the Argentinian musical roots) - had been added to their superb rhythmic work in this album. "Pájaros Eléctricos" was never presented live and has remained as the only published work by Cevasco as a soloist since the date of its release.

+Bonus 7" Single!
When it comes to the -rarest of the rare- german Jazz albums, Fitz Gore & The Talismen is in the TOP 5 for sure. Gore, born and raised in Jamaica, came to Europe in the early 1950s. He was completely self-taught on the tenor saxophone and his admiration for the music of John Coltrane and Sonny Rollins is more than obvious. In the 1960s he travelled to various cities in Europe with the aim to play with fellow Jazz musicians. Those years surely helped him to shape his unique spiritual ideas in music. Back in Germany in 1975, he formed his own group named "The Talismen" and recorded his first album ("Soundnitia") from which "Song for my Father" and "Mariella' Amor" are taken. The following year he released "Soundmagnificat" and in 1980 his final album, "Soundmusication". Two years before, in 1978, he spent time in Tenerife where he recorded his arguably finest composition, simply titled "Gisela (Lion Rock)". It came out on 45 rpm single housed in an extremely cool picture sleeve and today it is without question one of the rarest and most sought after german Jazz 45s. All three albums as well as the 45 were released on his own, private label ("GorBra Records") which he ran together with his wife Gisela.

To celebrate 10 years of this great album INFRACom! is delighted to announce a limited pressing (ltd. editon 500 copies) of Mop Mop ́s third long player. For the first time on vinyl ! Back in 2010 INFRACom! could only release a CD version. For this vinyl release the original studio masters have been transferred to "reel tape" and received a special vinyl mastering for a great analog sound. The original artwork has been transferred to the vinyl version that comes in a gatefold sleeve.

After the highly acclaimed "Kiss Of Kali" Mop Mop are back with Ritual Of The Savage, the third studio album, written, arranged and produced by Andrea Benini. Ritual Of The Savage contains twelve tracks of pure hypnotic Jazz, spiritual flavours, exotic Funk and Soul music influenced by Latin and African beats.

Collaborations in the album include the amazing UK vocalist Miss Baby Sol (backing vocaling for the likes of Amy Winehouse, Joss Stone, Paloma Faith, Nate James), veteran Jazz crooner Alan Farrington, Down Beat critics poll winner Gianluca Petrella on trombone, the Italian vibraphone Star Pasquale Mirra, the Voodoo sound of Guglielmo Pagnozzi on clarinette and alto sax, percussionist Danilo Mineo and Andrea Benini's co-writer and arranger Alex Trebo on piano and keyboards.

Ritual Of The Savage is an album with the philosophy of a soundtrack where the main character is a modern Savage who is searching for a perfect land where music is the only law. He starts his journey after "The Return Of The King", the album's opening track, going to an unknown "Destination" where Jazz meets Funk.
Will the Savage be able to reach his goal? Nobody knows. But as the last album's track "Aria" suggests he will land in a space where everything is harmonious.

The result is surely mindblowing with a flowing tracklist which sequels as if to tell a story. This album is made for the selective and open mainded music heads and dj's; vintage elements are mixed through a modern way of production and beats are generated by acoustic drums and analog drum machines. As Andrea Benini suggests on "Ritual Of The Savage"'s lyrics : "...Step back, burn all your money, give up to your power silks and chase real pleasure".

The shadow that Gary Bartz casts over the last six decades of progressive Black music, and his continued dedication to same, makes him a logical and very welcome contributor to the Jazz Is Dead label. An alto saxophonist steeped in the history and tradition of his instrument who is also restlessly experimental and not prone to purism of any kind, he enjoys both the respect and admiration of his peers and the hero worship of several generations after him - including Adrian Younge and Ali Shaheed Muhammad, which inevitably led to Gary Bartz JID 006. A look at his body of work reveals dalliances with bebop, hard bop, free jazz, spiritual jazz, soul jazz, jazz-funk, fusion and acid jazz, all while resolutely remaining unmistakably Gary Bartz. There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early '70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. And while on the subject of samples, the Bartz catalog has provided hip-hop and other genres with a rich source of them, and artists who have gone to his well when producing beats also include Black Sheep, Jurassic 5, Casual, RPM, Warren G, Photek, Statik Selektah, Chi-Ali, 3rd Bass, Showbiz, ZTrip, Young Disciples, and many others.

LTD Edition!

Anfang Dezember veröffentlichen Keleketla! eine White Label-12“ in limitierter Auflage mit dem DJ Stingray-Remix von „Future Toyi Toyi“ und dem Skee Mask-Remix von „Swift Gathering“ auf Ahead Of Our Time / Ninja Tune. Der Erlös aus der Veröffentlichung geht an die Kampagne für ein freies West-Papua.

Was aus den ersten Keleketla!-Sessions in Südafrika hervorging, war Musik als Reaktion von Aktivist*innen, und dies wurde zu einem Schlüsselthema für das „Keleketla!“-Album welches am 3. Juli 2020 erschien. Keleketla! begann als musikalische Begegnungsstätte zwischen den Ninja Tune-Mitbegründern Coldcut und einer Reihe südafrikanischer Musiker*innen (die von der Wohltätigkeitsorganisation In Place Of War zusammengebracht wurden) und verzweigte sich bald von Johannesburg aus nach London, Lagos und L.A., wobei Coldcut - die Freunde der Familie Wenda und langjährige Unterstützer der Kampagne „Free West Papua“ sind - den westpapuanischen Unabhängigkeitsführer Benny Wenda einluden, einen Beitrag zur Platte zu leisten.

Die Platte erhielt überschwängliches Lob von Medien wie der Süddeutschen Zeitung, die schrieben „Keleketla!' liefert die bisher raffinierteste Kampfmusik für unsere Gegenwart!“, von NPR, die sie als „eine atemberaubende Zusammenarbeit“ beschrieben, während FT sie als „eine kosmopolitische Geschichte des musikalischen Widerstands“ bezeichneten. Die NYT machte das Album zum „Critic’s Pick“, der Guardian kürte „Keleketla!“ zum „Global Album of the Month“ und Bandcamp lobte ihre „inspirierte Auseinandersetzung mit zeitlosen kreativen Traditionen, die den globalen Einfluss der Musik des afrikanischen Kontinents anspricht.“

Another top notch Funky Spiritual Jazz release from Paul Murphy's Jazz Room Records. Featuring Strata-East stalwart Shamek Farrah on Saxes and an all star cast including Trumpet Legend Malachi Thompson.

The music is a Funky Spiritual Afro-Latin Soul mix with the Miriam Makeba influenced Cape Township Party title track and the Jazz Soul grooves of "Waiting For Marvin" both highlights..

Get down to the Worldwide Sound with the Latin Jazz grooves of "The White Lady" featuring Sonelius Smith on Piano and "Along Came Ron Rahsaan" with Vivian Chandler singing a wordless Spiritual Jazz Headspace Lullaby.

Totally obscure and his recordings fetching exhorbitant prices (a re-issue Japanese CD is 3 figures) Shamek Farrah ranks with the great unrecorded. Two releases on Strata East in the '70s, a couple for RA, a release in '95. The reissue of this 1978 recording for RA by Jazz Room Records reintroduces a roomful of rarely heard musicians, along with a young Malachi Thompson soon to become an Internationally renowned Jazz Heavyweight.

Currents is JAB’s latests contribution as he creates and arranges a perfect synergy of heavy percussion and epic strings for the worlds movers & shakers to get lost in, meditate with and move within. Orchestrated with the emotional journey the world was experiencing throughout 2020 in mind, Currents does the focused and joy-stirring

soft cell classic on raggae, great

This deep soul-jazz double-sider, recorded on October 3rd 1972, was released as a seven-inch single on Motella, one of the many labels of the Mavuthela Music division of Gallo Africa (now Gallo Record Company). Mavuthela was founded by the talent scout and producer Rupert Bopape in 1964. This recording of 'The Toreadors', a one-off session group, was produced by Ray Nkwe who worked as an independent producer for several different companies and was responsible for organising many African jazz-oriented sessions in the 1970s and early 80s.

On first hearing the A-side ‘Thembi’ (written by Ray Nkwe) ‎you’ll wonder why you haven't heard this song before, but simultaneously be struck with a sense of instant familiarity. It has a loose floating jazz vibe with echoes of 60's hippy, psychedelic soul-jazz qualities, and elements that remind us of acts such as The Deirdre Wilson Tabac. The vocal deliveries are stunning, hauntingly beautiful, and from a place where it is hard to pinpoint just where this song originates.

The B-side, ‘Gwinyitshe', is also absolute fire. This song has gained more coverage and notoriety among South African music fans / collectors and DJ's over the years. It is a deep, pulsing soul-jazz-funk groove with another exceptional vocal performance that is relaxed yet engaging and spiritual, whilst managing to surf the instrumentation to perfection. 'Gwinyitshe' was written by one of the sleeping giants of South African music, Teaspoon Ndelu, who also plays on the record and whose material we can't get enough of here at Mr Bongo.

When you think you have all the records you need a gem like this resurfaces from the past, reminds you that you've only scratched the surface and there is still a wonderful treasure trove out there to enrich you and your music collection. So dive into The Toreadors world briefly, your day will be the better off for it.

• Official vinyl replica
• South African soul-jazz obscurity
• 'Gwinyitshe' written by Teaspoon Ndelu

This is the super limited edition with the "Matizando la Salsa" 7'', one of the rarest Guaguancó 45s from Central America. This extra single was only made available through the purchase of the combo of both 7'', and it was limited to 100 bundles. Discodelic presents its third release in its exclusive limited-edition seven-inch series, the last piece in the Costa Rican Afro-Latin music trilogy. From Alajuela, the Vargas brothers aka Combo Guarajeo, one of the most incredible and talented groups from Central America. Their highly nuanced Latin Funk Jazz, mixed with psychedelic and fuzz scents, will blow your mind. Learn about the incredible history of these four brothers in the exclusive and extensive liner notes that accompany this edition.

Gondwana Records are delighted to announce parts 3 and 4 of the '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

The return of Portico Quartet was one of the musical stories of 2017 and Endless was one of the tunes of the year. It's one of the band's biggest tunes and on the flip here is the ethereal groover Undercurrent.

Side A Endless A catchy earworm, with a hypnotic groove that announced the band's return to their signature sound and marked their first new music in five years

Side B Undercurrentcut at the same session, and making it's vinyl debut after previously only being available as a Japanese bonus track.

With his new album Rhapsodic, Nicolas Repac gives life to the archives of the hunter-gatherer of sounds: Charles Duvelle Nicolas Repac is pursuing the dreamlike magic of his art of sampling with his new album "Rhapsodic". The musician plunged into musicologist Charles Duvelle's pioneering field recordings, in order to deconstruct and revisit rare music archives gleaned from all over the world. Repac ventures into the craziest sonic and stylistic pileups - adding voices, rhythms and traditional music from "every world". He offers some "Rhapsodies" of multicoloured sounds and instrumentals, revisited through the prism of electronic music. He liberates himself from all ethnomusicological coherence to speak directly to the soul and imagination of his listeners - beyond the frontiers of time and space. Grafting heady grooves of traditional percussion from Benin onto sub-Saharan violin refrains, interweaving them with Mongolian morin khuur on a bed of pygmy mouth-bow, Nicolas Repac leads us on the most captivating of immobile journeys, to the heart of the most intimate impulses, the most human pulse.

One of the most highly regarded modern Brazilian jazz trios, Caixa Cubo announce ‘Angela’, their latest album and first to be licensed for European release by Heavenly Recordings.

 ‘Angela’, their Seventh since forming in 2007, was named as one of 6 Music’s Recommends Albums Of 2020 (Presenter Picks), chosen by DJ Huey Morgan. The single ‘Palavras’ is currently on the 6 Music playlist. Heavenly Recordings picked up on the record when DJ Giles Peterson played ‘Palavras’ on his show.

 Recorded in December 2018, the album features the singer Zé Leônidas on ‘Palavras’ and includes arrangements of songs like ‘Baião Malandro’ by Egberto Gismonti and ‘Dark Prince’ by Geri Allen, in addition to the group’s original compositions.

 Made up of Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), the trio have split their time between Brazil and Europe in recent years, having been awarded scholarships to study at the Royal Conservatory of The Hague, Netherlands.

 They have performed at many respected European venues and festivals including Jazz à Vienne Festival (France), Anton Philip Hall (The Hague), A-Trane (Berlin), Riverboat Festival (Denmark) and others in Paris, Brussels, London, Birmingham, Lisbon and Rotterdam. They also performed in Maputo, Mozambique, as well as renowned venues in Brazil, mainly in Sao Paulo (Auditório Ibirapuera and SESC Consolação, Museu da Casa Brasileira).