Search:magic sound

MAW Records release the next tracks in line from the Maw Lost Tapes digging saga by Masters At Work.

This release entails the story of a special studio session by one of the NY House Pioneers who brought you 'The Music's Got Me' by Visual along with his partner Timmy Regisford back in 1982. His name is Boyd Jarvis (RIP), a keyboard genius, also one of the early creators of this unique sound. Masters At Work had only a few rare sessions in the early 90s with Boyd and the outcome are some of these stunning outtakes on 'Boyd's Jam' produced by MAW. Driven by the Zipper sound and swinging house KD beats in MAW style, the Boyd bassline carries the tune in the pocket groove with LV chords bringing atmosphere and mood. Then comes the Boyd magic with his organ solo ripping through the hypnotic groove.

This one is classic Masters At Work taken from the early 91-92 sessions, it's as authentic as can be.

The Cinematic Orchestra kündigen eine limitierte Vinyl-Reissue ihres erstmal 2003 veröffentlichten Klassikers 'Man With A Movie Camera’ an. Im Rahmen der Filmfestspiele zur Europäischen Kulturstadt Porto im Jahr 2001 wurde Jason Swinscoe vom Cinematic Orchestra beauftragt, einen Soundtrack zu einem Stummfilm zu komponieren, der einmalig aufgeführt werden sollte. Bei dem Film handelte es sich um Dziga Vertovs Experimentalwerk „Der Mann mit der Kamera“, einen frühen Dokumentarfilm aus der Ukraine von 1929, den viele, darunter das British Film Institute, fast 100 Jahre nach seiner Entstehung als einen der besten Filme aller Zeiten bezeichnen. Die Aufführung fand im historischen Coliseu do Porto statt und endete mit stehenden Ovationen von 3.500 Menschen. The Cinematic Orchestra hat die Show im Laufe der Jahre auf internationalen Tourneen aufgeführt, unter anderem im Barbican in London, im Winter Garden des World Trade Centers in New York und im Sydney Opera House.

Known for being part of the INNA DE YARD family for almost 20 years, Jamaican singer extraordinaire DERAJAH is a major figure in Kingston music scene. He is the bridge between the old and new generations, passing the knowledge from the elders to the youths. We are delighted to present his latest effort in collaboration with A-class studio band The 18th Parallel: ‘PROSPERITY’. A showcase album of 6 songs with dub versions produced between Geneva, Switzerland and Kingston, Jamaica. With the expert touch of mixing maestro Westfinga, the 11 tracks of ‘Prosperity’ are sonic masterpieces, timeless and innovative.

In between the raw and brutal sound of 80’s Jamaican rub a dub and today’s sophisticated and polished modern sound. Derajah's raw and emotive vocals paint vivid pictures of struggle and resilience, carrying a profound message of social consciousness and resistance against oppressive forces, while The 18th Parallel's ultra-solid riddims create a rich tapestry of sound that will transport you to the heart of roots reggae. With its impeccable production quality, ‘Prosperity’ captures the essence of reggae's golden era.

This groundbreaking album is a testament to the enduring power of music to inspire, uplift, and ignite change.

The story towards the creation of this album also needs to be shared. As Fruits Records members were in Jamaica on tour and to record their first projects, they crossed Derajah paths a couple times without getting a chance to work together. But this was enough to set a strong foundation to a relationship that goes way beyond the musical side only. A few years after this meeting, one phone call only was enough to start the process. The rest is pure magic! Spontaneity, trust and loyalty became the guidelines for the creation of this gem, which stand out of time and space, and aim to carry on its path anyone seeking for knowledge, love and prosperity.

The eponymous debut disc from German-Swedish supergroup 4
Wheel Drive went straight to the top spot as Best-Selling Jazz Album
In Germany For 2019. And the media didn’t hold back with their
praise either: “Four first-league jazz musicians with pure joy of playing
and a love of good pop music,” said ZDF’s ‘heute-journal’ about this
spirited and enjoyable group that combines trombonist / singer Nils
Landgren, pianist Michael Wollny, bassist / cellist Lars Danielsson
and drummer Wolfgang Haffner.
 For ‘4 Wheel Drive II’, it is evident that things have shifted up a gear
right from the start, with the rocky, pulsating opening track, ‘Chapter
II’, straight from Wollny’s compositional workbench. Landgren likes to
let his trombone roar like a sports car engine. In similarly dynamic
vein are pieces like Danielsson’s final track of the album, ‘The
Wheelers’, which, thanks to Haffner’s nimble brushwork, makes you
think you’re on a high speed train.
 Compared to the first album, there has been another change, an
increase in the proportion of original compositions written by all of the
participants, as Lars Danielsson, who has contributed a sensitive,
poppy ballad to the new album, ‘Just Another Hour’, remarks.
“Interpretations of worldwide hit songs were a factor behind the huge
success of the debut album, but the ratio to original compositions
here is getting closer to 50:50. That said, the fuel powering 4 Wheel
Drive has remained the same: this band is all about creating music
from deep within, and with like-minded people whom you can
absolutely and implicitly trust to be in the driving seat.”
 “It just flows,” enthuses drummer Haffner, “we’re a group of close
friends with nothing we need to prove, we can just go for it. I've had
so many magic moments with this band, it really is incredible!”
 On the new album, listeners are treated to several new moments of
pure magic, continuing 4 Wheel drive’s illustrious story. For example,
their new instrumental version of the Simon & Garfunkel classic,
‘Sound of Silence’, has something mysteriously Nordic about it. Or
their newly-cast version of the surprisingly infrequently covered
Genesis ballad, ‘Hold On My Heart’, putting it into a jazz context. The
courage to approach pop tunes that have become so ingrained in
many people’s minds from a completely different perspective pays off
in full. Within 4 Wheel Drive are four originals at work, each of whom
can be recognised from the very first note they play or sing.

On his latest album as The Drums, New York-based indie pop artist Jonny Pierce plunges into the work of healing from childhood trauma and the long shadow it casts over adulthood. The sparkling, eponymous Jonny unfurls a love letter to a galaxy of younger selves, all hungry to be nourished, all rejoicing now that they finally get to belong. Playful, heartbreaking, raucous, and serene all in turn, Jonny embraces the mess of life in all its facets. It renders the magic that happens when you fall in love with yourself down to the marrow. Soaring to alt-pop prestige on arrival, The Drums have released studio albums that deftly walk the line of aching melancholy and irresistible pop sensibilities, presented through a kaleidoscope of pastel guitars, reverb, modular synthesizers and drum machines. It"s a sound that"s wholly unique, and unmistakably The Drums. The Drums" music remains timeless, as evidenced by the recent explosion of their RIAA Gold-certified song Money, which first appeared on their breakout sophomore album Portamento, reaching #1 on the Alternative Global Shazam Chart and #2 on the TikTok Global Hashtag Chart.

Als sich The Damned 1989 erstmalig trennten, gründete Leadsänger David Vanian die Phantom Chords. Ihre erste Single, ein Cover der John Leyton-Nummer 'Johnny Remember Me' erschien 1990 und ihre Version von 'Town Without Pity' folgte 1992. Erst 1995 wurde schließlich von Big Beat ein Phantom Chords-Album veröffentlicht, das gekonnt die Genres Rockabilly und Gothic Rock miteinander verschmolz. Zu den Tracks gehörten u.a. mit 'Voodoo Doll', 'Big Town', 'Fever In My Blood', 'Jezebel', 'Chase The Wild Wind' und 'Swamp Thing' eine Mischung aus Covern und Originalmaterial, die aufgrund zu geringer Verkaufserwartung der LP eine reine CD-Veröffentlichung war. Jetzt, fast drei Jahrzehnte später, wird dieser Fehler korrigiert und 'David Vanian And The Phantom Chords' endlich auf Vinyl als 2LP-Set (Black Vinyl) veröffentlicht - natürlich auf Ace Records!

Kasra V is here to engulf the club. Fresh off the success of his recent release on Radiant Records titled "Hyperdelic," Kasra is submerging listeners with a signature sound touching on dance music visions from different epochs but harnessing a unique aural palette. Kasra applies cut up techniques with sampling and utilizing his own voice as a tool throughout the record, topping the club energy with a punk rock sensibility. Equal parts eccentric and equal parts calculated, the tempest of this record is doused in wild elements: anthemic vocal samples with arena shaking capabilities, 80's hedonistic nostalgia, catchy utopian vibrations with a psychedelic cyber flair, flirting with inspiration from groups like Meat Beat Manifesto and YMO. Euphoric and aerated, but with a slicing undertone utilizing his freaky sampling prowess. Shaytoon is proud to present the next chapter of diaspora alchemy for your listening pleasure. Prepare for a flood.

Prolific songwriter and guitar virtuoso David
Tattersall presents 11 new songs on themes of
memory, dreams, loneliness and love, featuring
nylon string guitar improvisations in the vein of
gypsy jazz legend Django Reinhardt.
 The David Tattersall Group are old friends who
rehearsed together for months in a small, smoky,
sweaty room, before recording the album on a
huge red boat moored on the River Thames, all
vintage microphones and wooden walls inside.
Friendship is a vital part of the record’s magic.
 Stylistic influences include Ronnie Lane, after
whom one song is named, and the nylon-string
guitar work of Jonathan Richman and Willie
Nelson. A pastoral mood prevails, with swells of
melancholic violin and Spaghetti Western
harmonica, backed by honky-tonk piano and the
dry drum sounds of Neil Young’s ‘Harvest’ period,
while the golden voice of Holly Holden adds a
touch of glamour to proceedings.
 David’s process includes much musical
improvisation and stream of consciousness writing,
but his end goal is to couple classic songwriting
with the collective chemistry of musicians playing
live in the studio. His lyrical influences include Tom
Verlaine, John Cooper Clarke and the New York
School of Poets, particularly James Schuyler.
 Pressed on 140g white vinyl with OBI strip.
 Includes digital download code

"Tale Spinnin'" - Joe Zawinul (keyb, perc, voc); Wayne Shorter (ts, ss); Alphonso Johnson (b); Alyrio Lima (perc); Leon "Ndugu" Chandler (dr)
»We played music that people listened to every day just as they watch the news every evening, music which changed constantly - just like the weather«, reminisced Joe Zawinul when talking about coming up with a name for the group. This would probably frighten off listeners in today's mass market. But back in those days CBS was satisfied with the group's sound being somewhat similar to the Miles Davis Combo and offered them a recording contract without carrying out the usual sound check. The magic potion "Bitches Brew", which Zawinul and Wayne Shorter had conjured up with Miles Davis, was promising of exhilarating new things to come.
The heart-stopping mix of motivic fixed points and exciting improvisations, »the sketchy melodies, all that a synthesizer and other similar electronic devices could offer, combined with a Milky Way of rhythms« (Der Spiegel) was the pathway down which the group went - without ever becoming pure routine. The fifth album, "Tale Spinnin'", is captivating for its wealth of distinctive, often warm, synthesized sounds, which are further enhanced by Wayne Shorter's bright, twangy soprano saxophone, lending it a jazzy aura. To be sure, this gripping jazz fusion never progresses steadily all the time, but takes up snatchy, though seemingly familiar, melodic ingredients and combines them to produce a new mixture. "Badia", however, is completely different: a quietly flowing and totally rhythmic ethnic work, which today would be classified as World Music.

Mix a producer obsessed with 1970's Euro-Glam singles with a Los Angeles MC who's only about now & you get the freshest sound since 1988! Street smart/hood muthafukka MC meets a beat-smart/ill-informed muthafukka producer. A conscious melding of Trap Rap & Boom Bap, staying original, precise & exact. Whether you are 15 or 50, this sound will survive any fad's that will be. Special guests include Double Dee (of Double Dee & Steinski) & Don Bolles (Germs, 45 Grave). For fans of : Publilc Enemy, Gary Glitter, Jungle Bros. Roxy Music & James Brown, Twenty Dollar bills, 45 R.P.M. adapters, Fab 5 Freddy, American Muscle, Melvin Van Peebles, dogs, turntable #1 & turntable #2, Dave Lombardo (from Slayer), God & the Devil.

Flächendeckender Release der B4E LP des US-Produzenten Yung Bae von 2018, die bislang nur in Miniauflagen im Eigenvertrieb erschien. Yung Bae ist einer der prominentesten Vertreter des Vaporwave-Subgenres Future Funk, der Electro-Funk-Sounds mit japanischen 1980er City-Pop-Samples zu einem verspielten Disco-Pop kombiniert. Er spielte auf Coachella, arbeitete mit Method Man, Mike Posner und Jon Batiste zusammen und veröffentlichte bis dato acht Alben und unzählige EPs.

It is with great fanfare that we proudly announce the return of the esteemed improvisational chainsaw blues trio Young James Long. Young James Long formed in Dallas in 2003 with a weekly residency at a local (and appropriately named) dive bar called Muddy Waters. PW Long (guitar, vocals) and Kirkland James (guitar) had known each other socially since the 90s when Long was fronting Quarterstick Records’ Mule, and James was playing with Tenderloin. Long would go onto make a series of incredible solo records under his own name and that of PW Long’s Reelfoot and James would play with Alejandro Escovedo (among many others) before their paths finally crossed again. They recruited Taylor Young (Hi-Fi Drowning, Young Heart Attack, The Polyphonic Spree) on drums and a raw, blues-punk-rock-and-roll band emerged fully formed, songs flying out of them with enthusiasm and ease. They recorded the You Ain’t Know The Man EP with their friend (and eventual Grammy winner) Stuart Sikes not long after. The EP came out via Southern Records in 2007, and thanks to the tasteful ears of the people this side of the pond, a European tour followed. If you saw that tour, you’ll agree that it felt like the band were really hitting their stride. However, here we are in 2023, so what happened? Answer: geography - the age-old enemy of creativity. One member left Texas and the others (being the extremely able and skilled musicians that they are) were perpetually wooed away to play in other bands. Everyone’s got bills to pay, right? And with that, things just kind of fizzled out. Long even insists he quit playing music around 2010. One of the most recognisable voices in underground music: out of the game. Incredible. Inconceivable.
Then, last year we at Wrong Speed got an email asking if we’d be interested in some new music Young James Long had been working on. We thought it might be a joke. They sent some mixes through, and it became very quickly apparent that it was anything but. Turns out the trio had started chatting about music again in 2020 (before the world had other plans) and had finally made their first full-length album Orogeny in the summer of 2021. Orogeny sounds live and thrillingly immediate, as though all obstacles between their delivery and your ears have been removed and discarded as irrelevant. There is no filler, no treading of water at any point. Amps buzz, songs teeter on the edge of collapse, you feel like you’re sitting in the middle of the band as they play and it’s a pretty sweet place to be. The album contains a whopping 17 songs, most under 2 minutes long. They don’t want to waste your time, or most importantly (after sixteen years away), theirs. If you’re familiar with Long’s previous bands, you’ll know he has a rare gift for pairing extreme volume with extreme tenderness and it’s thrilling to find that gift present and correct after over a decade away. And that voice – holy shit, that voice. He can go from a Beefheart howl to the sweetest country baritone in the space of a single line. In James and Young he’s found the perfect foils, a power trio of instinctive and soulful musicians able to conjure shining gems of magic out of the grit and the dirt. Young James Long is risen from the ashes – it’s a miracle!

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Miss Tiny is a brand-new musical project featuring acclaimed record producer and Speedy Wunderground label founder Dan Carey (Wet Leg, Slowthai, Fontaines D.C.) alongside Ben Romans-Hopcraft of Warmduscher / Insecure Men / Childhood fame.

A spiritually, and methodically united front, Miss Tiny’s universe is a thoroughly explored romance between heritage, rebellion, and years old friendship; a triptych of variables all gravitating towards one signalled output, with no real sense of time, or external pressures. Having spent the best part of a decade orchestrating haphazard jam-sessions, Carey and Romans-Hopcraft would eventually go on to discover a fundamental principle of their own. One which would come to define Miss Tiny, throughout her various forms and guises.

“We called it anti-recording,” continues Carey. “Only doing it for the pleasure of doing it”. When fully committing to this practice, the music meticulously follows two courses; refine, or degrade. Perfect the moment, or let it go; never to be heard, or re-lived ever again for fear that the action of pressing record, would inevitably take ownership of the occasion and lead the experimentation into a downward spiral towards something all-together tangible.

The irony of a seminal producer and critically revered musician banding together out of mutual distaste for recording, is not one that’s gone amiss. In fact, they’ll be the first to proudly call it into question- and yet still, Miss Tiny holds her own despite all peripheral associations, and would eventually go on to be documented. These aren’t ‘sit-down-and-write-a-song’ kinda songs. These spurts of spontaneity which would, in time, ultimately form the duo's debut EP ‘DEN7’, are years’ worth of trial and error. Trial and elation. A process in which strong technique and melodic-manipulation are the sole foundations required to reinvent the meaning of memory; be it guitar and drums, or flesh and blood.

Produced and recorded at Carey’s ‘Speedy Wunderground’ studio in Streatham, ‘DEN7’ is a masterful introduction to a group whose members need none. Through chopping, editing, and re-defining their improvised segments into songs which they could eventually go on to learn, Carey and Romans-Hopcraft by chance, stumbled upon gold-dust. Like Alice and her looking glass, our two protagonists effortlessly pass through all notions of engineered logic in order to see beyond the expected. The bigger picture perhaps. Or the magic in the small things that matter most.

Repress!

1981 SYNTH CLASSIC BY JAPANESE KEYBOARD WIZARD AND YMO PROGRAMMER HIDEKI MATSUTAKE REISSUED OUTSIDE OF JAPAN FOR THE FIRST TIME IN 40 YEARS. REMASTERED FROM THE ORIGINAL TAPES WITH STRIKING ORIGINAL ARTWORK BY LEGENDARY ILLUSTRATOR PATER SATO INCLUDING ITS STUNNING FULLY ILLUSTRATED
8-PAGE BOOKLET

His name may not be instantly familiar, but Hideki Matsutake has had a huge influence over Electronic music. Starting his career as the assistant of Japanese Electronic Music master Isao Tomita in the early 70s, he went on to work with Ryuichi Sakamoto and then Yellow Magic Orchestra as their keyboard programmer and unofficial fourth member. In 1981 he started his own Logic System project recording "Venus" that year in Los Angeles with Don Grusin, Nathan East and Michael Boddicker, brilliantly mixing Synth Funk, Ambient and Boogie with a touch of Fusion Jazz predating Vaporwave by a mere 30 years. Wewantsounds is delighted to reissue this visionary album, which
comes remastered from the original tapes and features Pater Sato stunning artwork including the rare beautiful 8-page insert with an exclusive interview of Hideki Matsutake by Hashim Kotaro Bharoocha.
The early 80s were prolific for Hideki Matsutake. As the go-to keyboard programmer for the tokyo music scene, he worked on Akiko Yano's "Gohan Ga Dekitayo", YMO's "BGM", Ryuichi Sakamoto's "B-2 Unit", Mkwaju Ensemble's "Mkwaju" and found time to record two Logic System albums in 1981. While the first album, "Logic" had a harder techno feel, the second one "Venus" was different affair. Recorded in Los Angeles at the new state of the art Yamaha Studio, it was loosely themed on the Greek goddess Venus and had a funkier more organic sound. For the album Matsutake had asked a handful of American musicians to provide songs he would then add his synth magic touch to. Michael Boddicker, Don Grusin, Nathan East and Roger Powell duly complied and also played on the album.

The updated sound was achieved by switching from the Moog III to the E-mu modular System (which Matsutake brought over to LA) and other synths like the Prophet 5, the Roland MC-8 and TR 808 and the Yamaha GS-1, a forerunner of the DX7.

The result is an amazing futuristic mix of electronic music and early 80s funk, announcing many genres to come, from techno and house to French electro and Vaporwave. From the breezy ambient synth of "I Love You" to the city pop edge of "Be Yourself" (originally written by Nathan East for Debra Laws) and the vocoder-led Daft Punk-ish "Take A Chance", Venus is a fascinating album that both pushes the boundaries of electronic music and is yet strangely accessible and beautiful.

The other key elements of Venus is the artwork designed by Japanese legendary illustrator Pater Sato. Sato had started in Japan in the early 70s doing many album covers for Japanese artists including Tatsuro Yamashita's cult Spacy LP before moving to New York in 1979 to pursue a career in fashion and advertising. His airbrush style became hugely influential over the years and in 2018, Stella McCartney dedicated a whole Men’s collection based on his Venus. Star make up artist Pat McGrath also regularly posts his artwork to her 3 million fans on her instagram.

The original album came with a beautiful 8-panel insert illustrated by Sato which Wewantsounds has reproduced on this deluxe reissue also featuring remastered sound, OBI strip and a second insert featuring credits and line up plus liner notes by Hashim Bharoocha. The notes will feature an exclusive interview with Hideki Matsutake reminiscing about the making of this visionary album which Wewantsounds is delighted to reissue.

Jay Tripwire has popped up a lot recently, which is always going to be good news for fans of those freaky late-night tech sounds that he is so well known and loved for. He kicks off Serenity's fifth release here alongside Jehr on 'Magic Man', a deep cut underlapping drum funk and lots of whirring machine sounds.

Parisian space techno talent Cyberduck then takes care of both tunes on the flip - firstly 'Arzach', a deep and dynamic cut that hurriedly scans a vast cosmic world with silvery drums and lush melodies. Then 'Cerclon' gets a little more edgy, with dark and nagging baselines moving up through the mix as the crisp, well-swung tech drums power along.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

LTD ORANGE VINYL

GLOK is the electronic alter ego of Andy Bell; best-known as the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

Fusion's Border Town is an obscure late Sixties bluesy psychedelic record. The sound is best described as a cross between Creedence Clearwater Revival and Circus Maximus with a touch of Ry Cooder (Cooder does perform a guest role on this album). It contains some full on rural spiked blues rockers with Ry Cooder's slide guitar taking center stage. The album contains the fan-favorite tracks "Time Of The Ostrich Head", "News Of Selena" & "Erebus".

This rare psychedelic nugget is available as a limited edition of 750 individually numbered copies on turquoise coloured vinyl.

The Esbjörn Svensson Trio, e.s.t. for short, are still
celebrated today as one of the most important and
influential European jazz bands of the last 20
years.
 In 1999, the three Swedes achieved their
international breakthrough with ‘From Gagarin’s
Point Of View’. A star rose in the musical sky and a
unique world career followed. But sometimes stars
shine for much longer than one thinks. On ‘e.s.t.
Live 95’ there are recordings that prove that this
was also true for the Esbjörn Svensson Trio.
 The band, founded in 1993, found their very
specific sound early on but it was not initially
noticed outside its home country. In 1995, when
the trio’s namesake still wore long hair and a
headband, these recordings were made at various
locations in Sweden. And whoever hears how the
trio played back then is left breathless.
 Much of what distinguishes e.s.t. was already
strongly pronounced here: the coherence and
powerful grip of the playing; the catchy themes that
immediately jump out at the listener and yet do not
become clichéd; the fusion of the music of role
models like Thelonious Monk and Keith Jarrett into
a style of their own, always infected by the forward
thrust of rock. Magical moments were saved for
eternity by these recordings.
 Now this e.s.t. early work is available on double
vinyl.

Good vibes Electro Oriental low-fi high graded sound !
Intergalactic hits ! Now you can finally put smooth on your (blue∼tooth) turntable : the great Double LP featuring all tracks from debut «Yuri Gagarin» & third «Al∼Khawarizmi» albums from this cosmos duo Guess Wwhat the six remaining beats in orbit not selected in my «Various Artists. 2» from their second opus «Mondo Giallo» an unreleased track, wack ! And the whole artworks always sublimely orchestrated by the spacio∼timeless visuals of FÉLIX, just my fix !

Beauty & groovy voyage, wise…

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

A/B-Side effect green/yellow/purple vinyl. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again."

Colour in colour vinyl, transparent and red with blue splatter. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again." New album cover by Maarten Donders. Remastered by John McBain !!

Some Kind Of Forever is Euglossine's brand new full-length, out March 2022 on sound as language. Where previous Euglossine releases were a complex balance of jazz fusion, sound design, and computer music, Some Kind Of Forever sees the artist pulling back and searching for simplicity. On this album, Whitehill immerses himself in the light and delicate. Some Kind Of Forever is Whitehill's most refined and restrained work to date. Influenced by the early ECM catalog, decades of groovy/weird library music, and domestic golden-hued psychedelia, Some Kind Of Forever's subtle, meditative jazz floats by ever so softly. The album's rich and open instrumentals are pristinely constructed yet always playful. Whitehill moves deliberately as he carefully peels back the layers to create something magical and tender. Some Kind Of Forever is an instant timeless classic and the warm, gentle breeze we all need right now.

It’s long believed that dreams are a way for our subconscious and conscious selves to interact. A chance meeting between cognitive thought and the expanse of imagination. Our dreams are often half remembered upon waking, leaving bits and shards of the story left to be pieced together. That process of pulling together fragments feels infused within Austin’s Neckbolt, a band with a radiant understanding of pairing disparate elements together to create something magnificent. Introduced back in 2021 with Midwestern Drawl, their self-released debut album, the duo of James Roo and Benjamin Krause formed the project with a specific energy and an alien sound. At its core, that record laid the blueprint for the band, a forward thinking mix of caustic noise rock and vivid psychedelic pop, combining to create something wild yet ingenious, reshaping common genre ideals.

At some point between the recording and release of their debut, Neckbolt expanded, reverse engineering their sound to form a live band that could pull off the music of their recordings. The line-up grew from a duo to the quintet, with Roo (vocals) and Krause (guitar) joined by longtime friends and collaborators, Bill Indelicato (bass), Brent Hodge (drums), and Kilyn Massey (guitar), forming an instant chemistry apparent in their earliest of live shows. With members split between Austin and Oklahoma City, the band adapted their approach to songwriting, opting to record in bits and pieces as they wrote, bouncing ideas back and forth, watching songs take shape in ways that none of the members had intended, but all were quick to embrace. Neckbolt are a freaky band and their second album, Dream Dump, seizes the opportunity to dial up the strange in their own vibrant way.

Discrepant proudly presents the Vinyl edition of Lebanese trio Malayeen. Malayeen is the project of Lebanese musicians Raed Yassin (Keyboards, Turntables & Electronics), Charbel Haber (Electric Guitar & Electronics) and Khaled Yassine (Darbouka, Percussion). Born from Yassin and Haber's love for the music of quintessential Egyptian guitarist Omar Khorshid, Malayeen disassembles and re-configures the work and style of the iconic guitarist innovative take on Arabic music. The final result makes for an original and unique update of Khorshid & belly dancing inspired songs from the past. Over the course of 7 compositions, appropriately named after Khorshid and famous belly dancers from the Arabic diaspora, the three musicians' varied backgrounds and techniques collide and coalesce in an experimental yet magical fashion, not actually playing Khorshid's music, but inspiring themselves from the cult guitarist's genius to create something completely new, modern and unexpected. A unique LP featuring the combined talents by key players of the Lebanese avant-garde. The Malayeen LP edition is released by Discrepant in collaboration with Lebanese exploratory label Annihaya effectively combining East and West musical strains of thought as well as conclusively deconstructing and displacing this particular form of 'popular' music. Design by Studio Safar S.A.L. Comes with full color poster painting by Omar Khouri Special vinyl one time pressing to 500 copies. "Uplifting, beat-driven pieces, often melodic, definitely Arabic, with destabilizing touches from external sounds, sound manipulations, and textural plays. The 17- minute 'Samia' is a roller-coaster ride culminating in a dizzying solo/duo between Yassine's darbouka and a darbouka track from a record played by Yassin. Great stuff. Monsieur Délire

Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.

The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.

As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.

So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue

Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.

The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.

As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.

So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue

Après le succès de Birdman (quatre Oscars dont ceux du meilleur film et du meilleur réalisateur), le réalisateur Alejandro G. Inarritu repousse les limites de l'art cinématographique avec ce western épique : The Revenant. Avec Leonardo DiCaprio (Titanic, Le Loup de Wall Street) et Tom Hardy (Mad Max: Fury Road, The Dark Knight Rises), tourné dans un Canada sauvage et glacé, à la lumière naturelle, The Revenant est une histoire de vengeance, de survie et de ténacité face à la fureur de l'homme et de la nature. Le film est en passe de devenir un grand favori de la critique, à l'aube de la saison des récompenses... Inarritu a choisi de sacrifier presque tout dialogue à un paysage sonore splendide et à une musique majestueuse. Un film de cette ampleur méritait un compositeur compréhensif de la création artistique pure et des passions déchaînées. Le Maître japonais Ryuichi Sakamoto (Furyo, Le Dernier Empereur - Oscar de la meilleure musique de film) a rempli le contrat haut la main. Avec son collaborateur Alva Noto (notamment au sein du Yellow Magic Orchestra), Sakamoto a créé une bande originale captivante qui sera assurément la bonne surprise de l'hiver. L'album contient également la musique additionnelle de Bryce Dessner (compositeur pour le Kronos Quartet et le LA Phil).

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Bobby Caldwell's second album, Cat In The Hat, from 1980, is one of his greatest moments and another masterwork of soulful sophistication. Featuring the eternal "Open Your Eyes", brilliantly sampled by J Dilla for Common's "The Light", it's about as essential as records get. Like its eponymous predecessor, it's been out of print for far too long. To finally release the hugely-anticipated reissue is one of our sincerely proudest moments.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

Right from the off, it's easy to tell that Cat In The Hat is a deeply special record. It's fantastically produced and incredibly well-rounded, carving its own lane with deep soul, warm jazz and a stunning vocal delivery that really helped Bobby reach out to some big new audiences at the time. Goosebumps at the ready for the rolling power-piano funk of "Coming Down From Love", opening up the album with a track as good as anything Steely Dan or The Doobies ever crafted, with a vocal performance from the heavens. Pumping AOR wonder "Wrong Or Right" is up there with the slick, classy rhythms of prime Ned Doheny whilst the cool, skipping soul of guitar-drenched "To Know What You've Got" is a funky ballad par excellence, with elemental traces of "What A Fool Believes". No bad thing. Closing out Side A, the folk-funk of "You Promised Me" is a bright, soulful strut with a wonderful vocal coda that just builds. Sensational.

The delicate bounce and falsetto self-harmonising of "It's Over" offers a truly delightful introduction to Side B, and serves as a great precursor to what follows. Bobby's dynamite "Open Your Eyes" is likely the reason you're all here. As if he needed it, the eternal J Dilla further immortalised Caldwell in the hip-hop canon with his production of Common’s epochal “The Light,” which heavily samples the magical “Open Your Eyes.” On a post paying tribute to Bobby in March 2023, Questlove claimed that he "got word Brother Bobby loved it". Bobby's original has seen new life even more recently from the likes of Dwele and Kendrick Lamar and deservingly so, as its insistent drums and staccato piano created a modern-soul classic. You'd think that would be hard to follow, wouldn't you? Not so, when you're Bobby Caldwell. Indeed, the horn-drenched stepper "Mother Of Creation" is absolutely ace, and, whisper it, possibly the album's finest track, all funky piano and guitars with horn lines to die for. Exquisite ballad "I Don't Want To Lose Your Love" rounds out the album beautifully.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of Cat In The Hat will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Dub FX (aka Benjamin Stanford) is a highly acclaimed artist renowned for his captivating live shows and a unique sound that defies specific genres but fuses Hip-Hop, Dancehall, Reggae and more. He also has an impressive talent for crafting complex, multi-layered compositions using just his voice, a sampler and some guitar pedals, earning him a vast and dedicated fanbase worldwide. Albums such as 'Roots' and 'Thinking Clear' have added to his reputation as a boundary-pusher. While some artists opt for flashy videos to promote their releases, Dub FX remains true to his unique approach by creating a series of live clips for ‘Infinite Reflection’, his brand new album. These exceptional performances not only showcase the album tracks, but also highlight his exceptional skills, adding an extra layer of magic to the overall experience. 'Infinite Reflection' is set to be another milestone in his career, showcasing his growth as an artist and his unwavering commitment to using music as a force for change.

A Foray Of '60s Pop Singles! Weaving magical pre-Beatle love-ballad sounds with hipper, Sgt Pepper-era styles, Jon & Robin hit the national Top Twenty with the infectious "Do It Again a Little Bit Slower" Their singles, ever whimsical and glib, encapsulate that mid-60s foot-tapping beat just before it went out of style

My Light, My World is a gorgeously slammin’ four track release by Brooklyn-based Ryan Clover on Eris Drew’s Ecstatic Editions imprint. We fell in love with Ryan’s music as we wore out the grooves on his killer 12 inch for ARTS. The tracks featured on My Light, My World are a perfect fit for Ecstatic Editions because, much like Eris’s sets, the tracks are beautiful musically and genuinely emotional, but they also seriously slap and translate powerfully on large sound systems. It is hard to find Big Room records with so much heart, so the label jumped to sign the tracks and prepare the project for release.

Clover’s arrangements on the EP unfold in truly magical and unexpected ways with buildups giving way to gorgeous musical passages. “We Love (We Feel)” is a heartfelt instrumental which sets the tone for the record, while the title tune “My Light, My World” declares boldly “ITS ON!” before heeding to woozy chords and a sax riff that sounds amazing in the mix. Flip the record over for “Here We F***ing Go!” which is a total boast track for deck players but doesn’t lose its sweetness in the process, and the powerfully fun closer “Let Me Tell U Sumthin’” which reminds sweaty dancefloors that “Love Is Special.” Ecstatic Editions hopes you’ll put your needle in the groove and dance hard to one of the season’s sweetest bangers.

The EP features original art by Karina A. Linares and mastering by Trutone legend Carl Rowatti.