Pop & Rock Vinyl Neuheiten & Releases - News

Eine junge, innovative Sängerin und Songschreiberin sorgt ab sofort auf dem Verve Label für einen mitreißenden Mix aus Soul, brasilianischer Jazz-Fusion, Funk, Mexican Bolero und House-Einflüssen. Die in Chicago
lebende Sparklmami eröffnet ihr Debütalbum mit den Worten “You’re listening to Sparklmami radio“, und
zieht sofort hinein in eine Welt jenseits klarer Genregrenzen. Nach den digitalen Singles “running“ und
„fajas“ (2024) wird hier erstmals die ganze Tiefe ihrer künstlerischen Vision hörbar.
Sparklmami versteht ihre Musik als Gesamtkunstwerk, erschafft ein eigenes Universum geprägt von markantem Styling. Die visuellen Elemente spiegeln sich auch musikalisch wider: “in this body“ lebt von einer
brodelnden Rhythmusgruppe, vielschichtigen Keyboard-Arrangements, warmen Bläsern und einer Stimme,
die mühelos zwischen Gesang und Spoken Word wechselt.
Sparklmamis Texte folgen diesem Prinzip: Themen wie Identität, Herkunft und Selbstfindung werden nicht
erklärt, sondern erfahrbar gemacht. Gerade darin liegt die besondere Kraft dieses Albums – verletzlich,
eigenständig und mit einer künstlerischen Handschrift, die Aufmerksamkeit verdient.

For their third album, Under The Reefs Orchestra explores the skies, rides the winds, and communes with the spirits that blow across the world. After making volcanoes roar on Sakurajima (2022) and unveiling a mineral, obsessive, and telluric music, the Brussels trio led by Clément Nourry (guitar), joined by Marti Mélia (baritone saxophone) and Jakob Warmenbol (drums), now opens a new chapter. Recorded at Robot Studio in Ghent by Pieterjan Coopejans,
orchestra also expands with distinguished guests – An Pierlé, Catherine Graindorge, and Alejandra Borzyk – who upset the balance and ignite the embers of improvisation. Surf jazz, cinematic rock, hypnotic trance: Under The Reefs Orchestra continues to roam uncharted sonic landscapes, heirs to Moondog, Adrian Belew, Morphine, and Sons of Kemet. Their ever-adventurous music composes a visionary, incandescent soundtrack for a world in turbulence. Praised by the international press (Earmilk, Spin Magazine – which ranked Sakurajima among the 22 best albums of 2022), the group stands out as one of the most daring projects on today’s vibrant Belgian scene.

Four guitarists who left their mark on Japanese jazz history: Kiyoshi Sugimoto, Ryo Kawasaki, Yoshiaki Masuo, and Masayuki Takayanagi. Bringing together musicians from different generations and musical backgrounds, the classic album "Guitar Workshop" showcases each guitarist’s distinctive personality and outstanding technique. The long-awaited reissue is finally set for release in the 11th installment of "Spin This Now!

2026 Repress

After a 3 year hiatus, Kampana brings back Aroop Roy to the label for his debut 7".

On the A-side, he takes a lo-fi funky blues sample and beefs it up with piano stabs, bass and a killer disco groove.

On the B, he reworks a Brazilian jazz-funk classic with a bumping house twist. Timeless sounds!

GERBlair / Huber - ECLIPSE ist das eindrucksvolle Debut eines der spannendsten neuen Jazz-Duos Europas. Der preisgekronte Frankfurter Saxophonist Darius Blair und Gitarrist Niko Huber entwickeln in reduzierter Besetzung einen eigenstandigen, modernen Sound zwischen Jazz, Hip-Hop-Asthetik und improvisierter Musik. Entstanden aus ihrer langjahrigen Freundschaft und intensiven Zusammenarbeit seit der Pandemie, lebt das Album von intuitiver Interaktion, klanglicher Prazision und emotionaler Tiefe. Die neun kompakten Stucke verbinden subtile Grooves, atmospharische Weite und starke melodische Ideen. Aufgenommen im Berliner Funkhaus mit einem Grammy-pramierten Produktionsteam, steht ECLIPSE fur die kraftvolle Verschmelzung zweier musikalischer Personlichkeiten - reduziert, innovativ und zeitlos.ENGBlair / Huber - ECLIPSE marks the striking debut of one of Europe's most exciting emerging jazz duos. Award-winning Frankfurt saxophonist Darius Blair and guitarist Niko Huber craft a distinctive and modern sound from a minimalist setup, blending jazz, hip-hop influences, and improvisation. Rooted in a long-standing musical partnership, the album thrives on intuitive interplay, sonic clarity, and emotional depth. Across nine concise tracks, the duo balances subtle grooves, open textures, and strong melodic ideas. Recorded at Berlin's renowned Funkhaus with a Grammy-winning production team, ECLIPSE captures the powerful alignment of two artistic voices-refined, innovative, and timeless.

2025 Repress
Gregory Porter’s “1960 What?” continues to be one of Expansion’s most sought after releases and comes now in new enhanced packaging. It combines the original with the Opolopo Kick & Bass re-Rub

Gregory Porter as narrator, sounding like Amiri Baraka, declares on “1960 What?” that “the motor city is burning y’all—that ain’t right” and refers to Martin Luther King Jr.’s death and describes trigger-happy policing (supported by a trumpet that blares, jabs, rumbles, and yearns); and the song portrays how certain events turn people against the possibilities of life and light. A vision that only recognizes strength and cruelty and rage is dangerously imperfect: rather, creativity, education, intelligence, sensitivity, democratic political participation, and compassionate social work are goals and virtues that can be affirmed, if not actively pursued, in all times.

By the end of 1986, with Miles Davis’ career in resurgence, he was approached by the producers of the movie Siesta, based on the book by Patrice Chaplin and starring Ellen Barkin, Gabriel Byrne and Martin Sheen. Miles agreed to create the music for the movie and immediately asked Marcus Miller to help compose and produce.

As had taken place with Tutu, Miles looked to bassist Marcus Miller—working with keyboardist/programmer Jason Miles—to compose and construct the various tracks, over which he blew his trumpet parts. Matching the music to the mood and tempo of the film’s scenes lay on Miller’s shoulders. The soundtrack came together in early 1987 in Los Angeles, Miller and Jason Miles working in North Hollywood, and Miles driving in from Malibu to play his parts. Miller brought in a number of players to add solos and texture: guitarists John Scofield and Earl Klugh; flautist James Walker, and drummer Omar Hakim.

Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots.

Siësta is available as a numbered limited edition of 1000 copies on gold vinyl.

Anlässlich des fünfjährigen Jubiläums des gefeierten Debütalbums "Space 1.8" (2021) von Nala Sinephro, erscheint dieses als neue und einmalige Doppel-Vinyl-Edition, erstmals auf zwei Schallplatten geschnitten, im Gatefold mit gefütterten Innenhüllen.

„Wer behauptet,es gäbe keine neuartige Musik mehr, kann entdecken, wie falsch dieses Urteil ist.“ – stern, Heft 21.09.2021‘Space 1.8’ is Nala Sinephro’s debut album; each contributing piece is part of a connected,
collaborative and deeply personal body of music.
Performed and recorded at Pink Bird Recordings in Wanstead and in the comfort of Sinephro’s bedroom, tracks one through eight allow experimentation to breathe and borrow from jazz, electronic and folk influences.

On the LP, Sinephro invites a host of talented musicians to enjoy its confines, providing a quiet place to dissolve the edges of London from the senses.

‘Space 1.8’ is a record for healing, which could not have arrived at a more needed time.

“BLUE” is a collaborative album between Russian artist Pavel Milyakov and Kyiv-based singer Yana Pavlova. Seven pieces compiled of minimalistic guitar loops, sax (including recordings by Alex Zhang Hungtai), dubby bass guitar and shadowy vocals. Mic noises, clicks and other sonic imperfections are a natural part of these tracks, as they are all composed with the use of random and unpredictable algorithms, purely improvised. Perfect soundtrack for the troubled summer days (and nights).

FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.

Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.

Mit “His Majesty King Funk”, seinem einzigen Album für Verve Records, schuf der Gitarrist Grant Green im
Mai 1965 einen absoluten Klassiker des Soul-Jazz. Zugleich war es das fünfte und letzte Album, auf dem
er mit dem aufregenden Hammond-Organisten Larry Young zusammenarbeitete. Einer der Höhepunkte ist
das von Green komponierte Stück “The Selma March”, das ein musikalischer Kommentar zu den Märschen
der US-amerikanischen Bürgerrechtsbewegung war, die zwei Monate zuvor Schlagzeilen gemacht hatten.
“Greens ‘His Majesty King Funk’ trägt seinen Namen zu Recht”. schrieb John Heidt 2007 im Magazin
Vintage Guitar über das Album. “Bei fünf Stücken voller soulgetränktem Jazz wird schnell klar, warum er
der Liebling der Acid-Jazz-Bewegung ist. Sein Spiel zeichnete sich durch eine Bodenständigkeit aus, die
man bei vielen anderen Jazzgitarristen vermisst, und dieses Album lässt diese besonders gut zur Geltung
kommen.”

Ein modernes Blue-Note-Werk mit ausgefeilten Beats, Grooves und harmonischer Raffnesse! Keyboarder
und Produzent Kiefer arbeitete unter anderem mit Dr. Dre, Drake, De La Soul, Pete Rock, KAYTRANADA
und Stanley Clarke zusammen. Für seine Arbeit mit Anderson .Paak erhielt er einen Grammy. Gerade erst
sorgte er als Mitglied des neuen Blue-Note Projekts FATHERS gemeinsam mit Nate Smith, CARRTOONS
und Kenny Beats für Aufmerksamkeit. Nun folgt der nächste Schritt: Der Kalifornier veröffentlicht mit
„Memory Bomb“ sein erstes Soloalbum für Blue Note.
Darauf verbindet er Jazz, Hip-Hop, Soul und elektronische Klangwelten zu einer organischen musikalischen
Sprache. Es entfaltet sich eine schwebende, cineastische Atmosphäre, in der improvisatorische Offenheit auf
präzise produzierte Beats trifft. Groove und harmonische Raffnesse stehen gleichberechtigt nebeneinander.
Zu den Album-Gästen zählen unter anderem Nate Smith, Walter Smith III, Erick the Architect, Planet
Giza, Tony Stone, Luke Titus, Amber Navran (Moonchild), Cisco Swank, Rae Khalil, Phil Beaudreau und
Gareth Donkin.

Two Thou’s Oraculu releases a full length spiritual electronics LP with tubaredefining Theon Cross, homeboy Taymour Khajah, soulful presence of D’Monk and Division81 vibe designer Sonny Daze. The sun-inspired record sets a high energy moment for Oraculu, blurring all the lines between the dancefloor, the horns, Berlin, London, Chicago, and Sardinia. This record is about change. I’ve started to be less interested in the fire of the sun, the explosion, the heat. The consistency, the orbit, the return got my full attention. Until it clicked, that repetition is a fundamental aspect of change.

On Oath's latest, the imprint keeps the jazz-fuelled atmospheres going with 'Seven Dogs', an EP that serves up an astonishing excursion through deeply hypnotic melodies and idiosyncratic grooves, courtesy of an iconic link-up between Rteph88 aka Robin Taylor-Firth and Steve Cobby.

Taylor-Firth and Cobby are musicians whose careers are so richly storied, broad-ranging, and impactful that it's difficult to summarise their output and impact in so few words. Both Taylor-Firth and Cobby firmly established themselves in the 90s, being involved in some of the era's most prominent and celebrated groups and for releasing some truly era-defining records. As such, their discographies reach far and wide, from house and techno cuts through to downtempo, drum'n'bass and leftfield, there is little that is left uncovered, and this spirit remains with them both as they continue to explore the outer parameters of their sounds.

Taylor-Firth, a songwriter, arranger, and producer, is perhaps best known for his long association with Warp Records and its sublabel Nucleus, and for his work as a member of Nightmares on Wax, where his signature keyboard playing style became a staple of the group's legendary sound. Alongside this, he has hundreds of songwriting and arranging credits on a dizzying array of records, and was a member of house music group Anon and Pio Bo alongside Richard Barratt - to name but a few selected highlights of his extraordinary career. Cobby's career is distinguished by his multitude of releases under a variety of aliases, along with his helming of a number of imprints, including Pork Recordings and his most recent label Déclassé. Experimenting with a wide variety of genres and sounds, perhaps his best-known work was with the duo Fila Brazillia alongside Dave McSherry, who released a plethora of immersive and innovative records in the 90s and beyond.

'Seven Dogs' represents a shared passion, vision, and musicality, two languages borne of similar spaces but reaching through time, space, and existence in creating a richly veiled musical experience that draws from lifetimes spent within the nucleus of music's soul. The EP speaks of the present as such as the past and indeed future, hinting with motifs that feel right at home within sun-kissed skies and within the walls of the chill out rooms. 'Early Doors', the EP's opener, displays the core fundamentals of the unfolding experience, namely the intrinsic relationship between keys and drums and how they express tone and mood. The piano gently caresses, ethereally floating with space to grow, as the drums lightly swing into life, providing an engrossing and rhythmically diverse groove that nods as much as it dives. The title track lands next and leads with a more driving feel. Sonically, the track leads with an oozing bass sequence that worms through the mid range before retreating under an array of compelling piano chords. The drums once again provide a strong backbone, allowing the melodic elements up top to fully express themselves - in a myriad of ways, murmuring and clamouring all at once.

'Visiting Hobo' brings the groove down a few notches. Slightly sombre in its delivery, the piano and bass interchange above a sparse yet hard-hitting groove, with as much emphasis placed on the emptiness as on the melodically full sections. The piano has a certain tonality here, with the notes containing a large amount of textural reverb that helps the track feel alive, almost growing out of the speakers. Wrapping things up is 'Titled', which begins with the keys and an array of whimsical features. The drums allow themselves time to grow into being, but when they do, they simmer within an enriching melange. It's a fitting end to a record that abounds with sonic consideration, environmental and emotive feeling, where two technicians bring their best and serve up four tracks of such sublimeness and thoughtfulness. One to drift deep within, on those hot summer days….

Shaka from Switzerland has always been someone on our radar and after receiving a test pressing of his release on Seasons Limited of the track Smoky Club the question was asked to do something to suit Ten Lovers Music and he has delivered. Drafting in Michael Berry on additional keys and Martin Cappi on flute, From West To South is as at home on the dancefloor as it is nodding along to at home.

Onto side AA and Takahiro Fuchigami from Japan delivers 3 superb broken beat gems, Rhythm Section, Sliding Window and Sparkling Fate are all very different but musically perfect to our ears.

Das im Oktober 1957 aufgenommene Album “Sonny Clark Trio” sticht aus zweierlei Gründen aus der
Blue-Note-Diskografie des Pianisten Sonny Clark (1931-1963) heraus. Einerseits, weil er sich nicht wie
auf seinen anderen Alben für das Label mit einem Quintett oder Sextett präsentierte, sondern im Trio mit
dem Bassisten Paul Chambers und dem Schlagzeuger Philly Joe Jones. Zum anderen, weil er darauf keine
Eigenkompositionen spielte, sondern auf subtile Weise erstmals ausschließlich Standards aus dem Great
American Songbook und Werke führender Jazzkomponisten jener Zeit interpretierte. Das Album kam bei
den Fans und Kritikern so gut an, dass Clark im Dezember 1957 und im November 1958 nach demselben Muster mit zwei anderen Trio-Besetzungen zusammenarbeitete. Aus unerfindlichen Gründen sollten
diese Aufnahmen jedoch erst lange nach Clarks Tod veröffentlicht werden - und zunächst auch nur in Japan.
Nun erscheinen die kompletten Aufnahmen zusammen mit alternativen Takes des Albums “Sonny Clark
Trio” auf einer Doppel-LP innerhalb der audiophilen Blue-Note-Tone-Poet-Serie unter dem Titel “The Art
of the Trio”. Die Veröffentlichung kommt in einer luxuriösen Tip-On-Gatefold-Hülle daher und enthält ein
Booklet mit neuen Liner Notes von Syd Schwartz, den Original-Liner Notes von Ben Sidran und Bob Porter
sowie bisher unveröffentlichten Fotos von Francis Wolff.

Jazzing The Morning is a compilation built around a simple idea: bringing together
slow-tempo tracks that quietly lived beyond the spotlight, and giving them a space of
their own.
Inspired by Dubbyman's Jazzing The Morning sessions, the compilation explores the
deeper, slower side of electronic music through six carefully selected tracks by Hanna,
Martian Tin Can, Paka Project, Detroit's Filthiest, Seafoam, and Inland Knights &
To-Ka Project.
Rather than focusing on genre, Jazzing The Morning follows a shared pace — warm
grooves, long blends and music made to be mixed, not rushed.
Pressed on vinyl only.
For those who still listen from start to finish.

“California Dreaming”, im September 1966 aufgenommen, war das letzte Album, das Wes Montgomery
(1923-1968) bei Verve veröffentlichte. Seit er 1964 von dem Produzenten Creed Taylor bei dem Label
unter Vertrag genommen worden war, hatte sich der Gitarrist vom reinen Jazz immer mehr in Richtung
Pop bewegt - und “California Dreaming” bildete da keine Ausnahme. Obwohl das Album mit einem aktuellen Pop-Hit begann und neben Bobby Hebbs “Sunny” sowie drei Stücken aus dem Repertoire der damals
angesagten Band Herb Alpert & Tijuana Brass präsentierte, fand Montgomery reichlich Gelegenheit, seinen
charakteristischen, von Oktaven geprägten Jazz-Gitarrenstil zur Schau zu stellen. So kam es, dass Montgomery mit “California Dreaming” nicht nur Platz 4 der R&B-Album-Charts erreichte, sondern sich auch
erstmals an die Spitze der Jazz-Album-Charts von Billboard setzte.

In 2024, Audrey Powne emerged as a compelling new voice in contemporary jazz with the release of her acclaimed debut album From the Fire; a self-produced and self-composed work celebrated for its lush string arrangements, soaring trumpet performances, and emotionally rich songwriting. Now, two years later, Powne returns with Bodies of Water, a bold and deeply introspective follow-up that continues her elemental exploration: from fire to water. An exploration of what it means to exist alongside others in an increasingly unstable world, Bodies of Water reflects on vulnerability, responsibility, and human interconnectedness. The album’s title and conceptual foundation were inspired by a passage from Caleb Azumah Nelson’s novel Small Worlds: “...to make himself a body, like water, a still surface, but beneath this, a ripple, and beneath this, an ebbing tide, and beneath that, a violent, constant tow…” Throughout the record, lyrics ruminate on the idea that like all bodies of water, we are vulnerable to disruption and catastrophe. Unlike inanimate bodies of water, however, we are conscious participants in both the damage and the repair. That tension between what we are made of and what we are responsible for became a grounding and harmonious thought. This album is a meditation on that idea, both in my personal life and in a broader, collective sense. Swollen, Broken Record, and Karma, reflect on moments of cruelty and error including her own that felt unbearable. Viewing them instead as forces moving through the landscape of a life, violent but temporary to survive their immediate impact. More socially conscious tracks Stay Awake, Creeds, RYV, and Two Sides confront frustration with political polarisation and the emptiness of language unaccompanied by action. The title and final track Bodies of Water brings these ideas together, reimagining both personal and societal upheaval as events shaped by bodies of water moving through the world destructive at times, transformative at others, and always in motion. Blending traditional jazz with Afrobeat rhythms, Dilla-inspired grooves, ambient textures, and expansive arrangements, Bodies of Water reveals the breadth of Powne’s artistic vision. The record moves fluidly between spiritual jazz, warped soul and rhythm-driven experimentation, while layered interludes and meticulous production thread its disparate influences into a unified and immersive sonic world.

Christophe Chassol's brilliantly-dazzling third album, crowns his trilogy of ultrascores (a method he elaborated for harmonizing, symphonizing real life, the 'here and now'), which started out in Creole-speaking New Orleans (Nola Che?rie, 2011) before pursuing its route through India (Indiamore, 2013).
In March 2014, Christophe Chassol took off for Martinique, his family's birthplace; these West Indies that epitomize everything he dreamt of expressing, from the purely personal to the perfectly panoptic. Hand-in-hand with the production sound mixer Marie-France Barrier and the sound engineer Johann Levasseur, the trio filmed and recorded a myriad of extraordinary encounters, scenes of everyday life, the carnival... a highly-evocative documentary that was to become the matrix of Big Sun.
Back in France, he composed, edited, rehearsed and created the 27 tracks of a 70- minute West Indian space odyssey. Big Sun is a weaveworld of birds' songs and Pipo Gertrude's whistling, Joby Bernabe?s poetry and a te?te-a?-te?te with a lady mountain-dweller, Sissido and Samak's rap, Mario Masse's flute, the Fort de France carnival, conch shell echoes, the ocean's music and the hullabaloo of a game of dominos. And sumptuous pieces of music like La Route de la Trace or Reich & Darwin, which suddenly spring up at a bend in the road and take our breath away.

Gatefold Style - 180gm

Sycophant is the first offering of recorded music from the polymathic Tāmaki artist Hun Lynch.
Recorded almost entirely at her house on a bedroom setup, Hun wrote, played and produced
almost every element on the album (with the exception of one drum track contribution from the
master Cory Champion). Sycophant guides us through lucid cinematic scenes saturated in
hypnotic choral vocals, driving guitar loops and synth-work akin to musique concrète.

Sycophant is a meditation on rediscovering one’s spirituality after both being rejected by and
rejecting organised religion. The processing of these experiences becomes a lamentation of
Christianity’s participation in the colonial rupture across Te Moana-nui-a-Kiwa, from which the
album was born. Grappling with co-existing states of love, guilt, fear, lust, grief and hope.

Pulsing between feelings of grandiosity and insignificance, between the atavistic, animal
experience of being alive and the existential, cerebral confusion of playing a part in the current
world. At the same time, Sycophant is an expression of love and devotion to Hannah’s family
and friends and everyone she knows and doesn’t know.

Created with awhi and guidance of Noa records and Navakatoa Tekela-Pule’s unending support and friendship.

Tracklisting:

Farfalla Records presents “Kaleidoscope”, its new compilation dedicated to the composer Jack Arel. His name belongs to a constellation of composers whose writing has hot stamped sixties and seventies pop music. Variety, television, cinema, ballet and theatre have all been touched by Jack Arel’s signature.

Take a trip through a psychedelic pop musical journey featuring 12 tracks recorded during his long and productive collaboration with the Chappell label and with his friends Pierre Dutour and Jean-Claude Petit by his side throughout.

This compilation features tracks such as ‘Psychedelic Portrait’, famously used as a music cue in the avant-garde cult British TV series The Prisoner.
The track ‘Strange Galaxy’ was utilised as the opening and closing theme for the Australian science fiction TV series Phoenix Five.
‘Purpose’, ‘May Be’ and ‘Something Happen’ are taken from the ultra-rare French soundtrack of the musical Je fus cet enfant là.
While the more adventurous may recognise the tracks ‘Picture of Spring’ and ‘Picture of Summer’ from the Danish underground horror film The Sinful Dwarf.

Neues Tea Glass Coloured Vinylformat des erstes Albums von Resavoir auf seinem neuen Label L'UNIVERS - nach drei von der Kritik gefeierten Releases bei International Anthem und Touren mit Khruangbin, BADBADNOTGOOD und Kassa Overall. ""Themes For Dreams"" markiert eine Kehrtwende und zeigt den Chicagoer Musiker/Produzenten Will Miller von seiner meditativen Seite. Auf 13 bemerkenswert stimmigen Tracks verzichtet die LP auf Schlagzeug und setzt stattdessen auf eindringliche Melodien, die schweben, verklingen und nachklingen. Mit Arrangements, die sich wie eine warme Decke anfühlen. Als Gastmusiker dabei sind Marta Sofia Honer, Jeremiah Chiu, Macie Stewart, Matt Gold, William Corduroy und Molly Rife. ""Man denke an die Ambient-Werke von Künstlern des elektronischen Jazz der 70er und 80er Jahre wie Beverly Glenn Copeland und Laraaji."" - Tasha Viets-VanLear, Chicago Reader

This album is thirty years old; it was the first release in the Tricatel catalog. We expected to sell more copies back then (only 30,000 copies upon its release, which would be fantastic by today's standards), but we've never stopped reissuing it, and it has also found an audience in Japan as well as in the United States, where it was also pressed. We're celebrating this anniversary with an exclusive edition-and, for the first time on vinyl, the original cover art as well as Valérie's cover of a song by Mireille and Jean Nohain.

Joaquin ‘Joe’ Claussell returns to the Spring Revisited project, and he delivers another jazz-infused house mix of a classic funk track by the iconic Fatback Band. Spring Revisited is collaborative project between Ace Records and Acid Jazz, inviting influential house music producers to reinterpret classic tracks from seminal New York label Spring Records, a pioneer in funk, soul and disco. After a series of sell-out and chart-topping 12” and 7” releases, as well as a 2LP compilation, the project continues with these two new mixes of the Fatback Band’s ‘(Do The) Spanish Hustle)’. Claussell combines the original classic funk elements with Latino percussion and samba-styled trumpets.

First up is his 'Sacred Rhythm Version’, which lifts the tempo and loops a section of the original's percussion. Keeping the trumpets, and soulful vocal phrases, he adds a DJ-friendly kick drum and shows off his improvisation skills with a vibrant synth line. On the flip, he strips back some of the drums and horns and focuses on the bassline with the 'Spanish Harlem Dub,' which is a moody rework utilising some funk-infused organ chords. On the original track Joe says: "I can vividly recall the very first time I heard Spanish Hustle blasting through my brother Jackie’s stereo system. Not long afterward, I experienced its energy again on the dance floor at a discotheque known as The Inferno, where it was masterfully delivered by the legendary René Hewitt. The record left an imprint on my spirit that never faded.’ A spectacular continuation of the series, presented in the nowsignature Spring Revisited housebag, resembling an original worn-in promotional 12”, pressed in a strictly limited run!

Mit "Cut You Where You Was" kehrt Zooid, die Flaggschiff-Band des Saxofonisten, Flötisten und Pulitzer-Preisträgers Henry Threadgill zurück. Die Künstler feiern damit das 25-jährige Jubiläum ihres ersten Albums "Up Popped the Two Lips", der ersten Veröffentlichung von Pi Recordings, dem Label, das ursprünglich angetreten war, die Veröffentlichungen von Threadgill zu dokumentieren. Das Album umfasst eine Reihe kurzer Stücke, die von Threadgills Faszination für frühe Aufnahmetechniken inspiriert sind: Ihre kurze Spieldauer zwingt jeden Musiker dazu, sich schnell zu äußern, anstatt sich in langwierigen Entwicklungen zu verlieren und eröffnet so neue Möglichkeiten des musikalischen Ausdrucks.

'Church & Raves' is a great title for an EP given the strange relationship between the two. You're unlikely to get many people in the UK who go to both, but at the same time the communion of a good dance is often likened to the joys of collective experience that people feel in their chosen place of worship. Jazz pianist, organist, composer and bandleader Jonny Liebeck brings together a background in both here: 'Dancefloor Motive' and 'In My Feels' run jungle's rhythmic urgency through a jazz sensibility and breakbeats are given real harmonic depth rather than just serving as a backbone. 'Underground Soul' and 'Modal House' lean closer to classic house but with those Latin jazz touches from his debut still lingering in the margins. A thoughtful, well-crafted EP for anyone who wants their music with real substance.

Omasta step into their own voice with “Hits Different”, marking a new stage in their evolution as musicians and storytellers.

Following their debut “Jazz Report From The Hood", which proved a major success and brought attention to Omasta as one of the most distinctive groups emerging from the contemporary jazz scene, the musicians return with their second album, “Hits Different”. The record develops the language established on their debut, pushing it into new territory and shifting the perspective from that of the protagonists themselves to that of a narrator telling the story.

While the debut album was a story about the lives and emotions of the band’s members, “Hits Different” adopts the perspective of a narrator, giving the album a more cinematic structure. As on the first record, the story is never told explicitly. The track titles merely point the way, leaving space for listeners to bring their own emotions, imagination, and experiences to the music. Each track becomes another scene in a story that moves through a broad spectrum of emotions, from happiness and excitement to anxiety, tension, and disorientation. It is a story that allows everyone to create their own interpretation, but its ending leaves no room for doubt. There is no happy ending here.

A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room.

It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures.

But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.**

It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their shit together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good.

It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them.

** See Jack Halberstam in Fred Moten & Stefano Harney, The Undercommons (2013): “…we must refuse the idea that music happens only when the musician enters and picks up an instrument; music is also the anticipation of the performance and the noises of appreciation it generates and the speaking that happens through and around it, making it and loving it, being in it while listening."

Wolfgang Haffner is one of Europe's most respected jazz drummers, known for his impeccable sense of timing, groove, and atmosphere. Though rooted in jazz, his musical language transcends genre boundaries, guided by pulse and subtle nuance rather than tradition alone. For Cocoon Recordings, he now enters an entirely new dialogue, offering warm, organic reinterpretations that honor the spirit of the source material while opening a fresh sonic horizon. The result is a meeting of two artistic worlds where Sven Väth's timeless energy and Haffner's refined touch flow naturally into a new musical form, an encounter between two artistic universes, merging into something both unexpected and deeply musical.

Fusion is a groove driven piece built around a clear, flowing melody, allowing Haffner to reinterpret it acoustically through a jazz lens. Its straight, driving pulse lets him explore the track's rhythmic and melodic interplay with clarity and nuance.

L'Esperanza, originally a dreamy, trance like track, envelops listeners in strings, filtered downbeats, and a playful synth melody, a perfect canvas for Haffner's warm, organic touch. Its ethereal layers and subtle tension allow him to explore the track's emotional depth while preserving its entrancing charm.

Barbarella, emblematic of Sven Väth's early 90s vision, carries the energy and innovation of a club classic. Haffner's reinterpretation transforms it into a rich, acoustic exploration that honors its hypnotic essence. By emphasizing the track's iconic motifs and underlying drive, and by drawing out the track's essential elements, he bridges its electronic origins with a new, organic perspective.

Together, these three reinterpretations form a cohesive journey that celebrates the timeless essence of Sven Väth's music while revealing a new dimension through Haffner's masterful touch, a release that invites listeners to experience familiar classics in a completely new light.