Search:masterclass

Moiré's rain-streaked and masterful Circuits album dropped this past September. RA's Andrew Ryce stated the eight-track album cast the shadowy producer into "a rarefied air occupied by the only the finest and most influential of ambient techno artists."

Now, in short order, the label returns with a remix EP charting out multiple hubs of oblique dance floor innovation. If there's a sonic motif on the A-side, it's vastly reactive interpretations of the "factory floor" element that inspired techno's pioneers. Matthew Herbert, a pioneering force in his own right, mixes steam engine percussion with the dreamy atmospherics of "Circuit 15" and comes up with eight minutes of cerebral machine funk. Tolouse Low Trax, meanwhile, continues his masterclass in modern motorik on his remix of "Circuit 7," integrating a chiming piano into a fascinating, perfectly-timed 110 BPM rhythm.

The B-side, meanwhile, doubles down on the oneiric nature of the original material. Workshop head and Avenue 66 alumnus Lowtec builds allows "Circuit 04"'s synths to billow into Gas-like immersive layering, sheets of melody are anchored by a restrained beat for an ambient techno track that doesn't tip the scales too far in one direction or the other. Rather, it achieves a perfect balance. Hamburg/Dial mainstay Lawrence closes things out with his version of "Circuit 18," which also concludes the original album. While the original has a wistful, Deckard's dream quality, Lawrence's version is deeply-rooted in the late-night German style; a low-slung bassline will keep dancers deeply rooted while those wistful chords sweep in like the violet before dawn.

TOWNES VAN ZANDT STUDIO SESSIONS FROM 1974 AVAILABLE ON VINYL FOR THE FIRST TIME EVER In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’. To commemorate the 50th anniversary of the beginning of Van Zandt’s turbulent musical career and launch of a major catalogue reissue programme, Charly has restored and re-mastered ‘The Nashville Sessions’ to present a stunning document of the folk-blues master at his absolute peak. “These are songs that tap into the timeless myth of the American troubadour, a place where wandering souls tramp the byways of their homeland...” Restored and mastered to vinyl from the original tapes provided by producer and manager Kevin Eggers. Full colour LP sleeve with original Milton Glaser portrait cover. Fully illustrated inner with detailed sleeve notes by Uncut magazine journalist Rob Hughes. Part of Charly’s 50th anniversary programme celebrating the start of Van Zandt’s career. All original Poppy and Tomato albums which Townes Van Zandt recorded at the peak of his career will be newly re- mastered, restored and lavishly repackaged and available on CD & limited edition 180g heavyweight vinyl. The death of Townes Van Zandt in 1997 at age 52 robbed the world of a troubled genius as well as one of America’s finest songwriters. His reputation and popularity has grown greater by the year inspiring books, a documentary and renewed interest from the media, passionately loyal fans and contemporaries such as Willie Nelson, Merle Haggard and Emmylou Harris who have covered his songs to the upper-reaches of the American charts. “From Neil Young and Willie Nelson, Bono and Bob Dylan (who reportedly once said that Townes was “in some ways the better writer”) to Tindersticks and Mudhoney, songwriters and musicians speak of Townes with reverence.” MOJO MAGAZINE “He was the best songwriter and most riveting solo performer I’ve ever seen.” STEVE EARLE “An effortless masterclass in emotionally effecting Americana”.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".

For Fans Of...El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your Psyche. In few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story. Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: The Invisible Hand LP. Tracks: 1.The Messengers 2. No Middle Ground 3. Purple Spark 4. Decades To Come 5. Shadows In The Sun 6. Snow Bird 7. In The Mirror 8. Dose Of Dank 9. The Things That We Love 10. History Lessons

Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”), Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans. While the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.

Repressed !

Fuzzed out and psychedelic covers of rare and classic tracks performed by San Francisco's Monophonics.
Monophonics are back with a six-song EP that fuses the complimentary and explosive soul, rock and funk influences, proving themselves to be the rightful inheritors of the Bay Area’s impressive psychedelic soul sound. Mirrors is comprised entirely of cover tunes, except that I doubt you’ve ever heard of half the deeply funky and soulful originals that inspired these soulful, tastefully produced, and timeless Monophonics treatments. “We wanted to do a couple songs that were more familiar to people and then shine some light on groups we’re big into,” lead singer, keyboardist and co-producer Kelly Finnigan explains. It takes a lot of guts to cover your favorite songs, your van jams, that song you play as a shot of inspiration to break-up a marathon studio session. “Not only are these great songs, but these are artists that we listen to and are influenced by.”

“It’s not about making records that sound old, it’s about making records that sound cool,” Kelly says. Not that he and the other five members of Monophonics mind if you confuse their albums for classic-era recordings. Even musician friends regular mistake a sweaty and greasy Monophonics original for an unheard Bar-Kays’ side, or a deep soul cover tune might pass for an original to a novice ear, except that Kelly makes sure to give credit where credit is due, which is what they do explicitly on this EP, Mirrors.

Even the familiar tunes, iconic, better said, receive a fresh treatment as instrumentals, despite their ubiquity as vocal songs. The EP opens with a ‘tip of the cap’ to The Main Ingredient’s version of “Summer Breeze” before the band unfolds a hazy, mellow-funk opus worthy of inclusion on a Bob James CTI album. The next four songs, all featuring vocals, range from the lowrider soul ballad, a cover of the The Invicibles’ “My Heart Cries” with a pleading and plaintive vocal by Nicole Smith, to the psychedelic blues stomp, “Lying,” originally by the archetypical psychedelic soul band nearly signed to Motown, Black Merda. Add in Kelly’s monster vocal take on Frankie Valli and the Four Seasons Northern Soul classic, “Beggin” (to be released as a 7” single with an instrumental version on the b-side), and the deep-funk pop-soul of Nu People’s “I’d be Nowhere Without You” with back-up vocals by Jeanine Jones and Veronica Johnson, and you have a highly-entertaining, toe-tapping, backbone-slipping, masterclass in deep funk and soul.

The final tune is the band’s singular take on the Mamas and the Papas hippie standard, “California Dreaming,” as an explicit and heartfelt tribute to their fans in Greece. The discerning music lovers of Greece fell in love with Monophonics after their 2012 hit “Bang Bang” resulting in multiple tours of the Mediterranean, where these native Californians imbibed on the fine ouzo, good vibes, and Grecian hospitality. Gifted a prized bouzouki (a traditional Greek guitar) by a local fan, Monophonics’ guitarist Ian McDonald and band infused this classic pop song with a soulful cinematic air and Mediterranean flavor, evoking a tune from an imagined Fellini film with a soundtrack by David Axelrod.

Catch the band on the road this Spring to hear some of these songs, favorites and new tunes from their forthcoming LP.

Carl Finlow has produced an astonishing catalogue of music over a career spanning three decades, with his discography including hundreds of releases and remixes under a variety of monikers. 'Desequence' is the latest edition to Finlow's expansive productions and a masterclass in electronic music.

'Desequence' kicks off the record with a heavy dose of integalactic funk with interstellar beats rockin' over squelchy bass lines and razor sharp glitches. While 'Downstream' delivers a warped groove wrapped up in Finlow's intricate programming.

'Guttural' is an overwhelming assault of rapid fire elements, forming complex off kilter breaks littered with robotic licks and served over deep, low end bass. 'Wavefront' closes yet another impeccable addition to Finlow's highly accomplished works, with an off planet adventure through extraterrestrial soundscapes.

California-based label Ritual Release introduce new & as-yet unknown duo Guruku. Love Runaway is their debut EP and comes with remixes by disco don Ray Mang.

Title track ‘Love Runaway’ features criminally underheard Tamara Lee on vocals and co-writing duties. LA funk/R&B/future twang auteur Harriet Brown (Innovative Leisure, Phantom Island, World Building) provides guest vocals on the EP’s second original track, ‘Crimped Hair’.

On the flip, Ray Mang delivers a masterclass in honing ‘Love Runaway’ for peak dancefloor effect in a choice of extended remix or dubby reprise.

“Absolutely essential release. A really good song is turned into a modern disco monster by Ray Mang, channeling Prelude Records circa 1982.” – Bill Brewster (DJ History, UK)

Bringing together some of the most incredibly spellbinding songs from a masterclass in song writing and one of R&B's biggest forces in the development of
black music. More than any other artist on the planet, Stevie Wonder's music has crossed the divides and cemented different races and generations with
million-selling records that offer both depth and jubilation. Greatest Hits Live celebrates the journey to worldwide success with a sublime collection of live
performances that not only capture his most iconic hits, but also the soul of the man who made them.
Get Yer Vinyl Out invites you to experience the legendary Stevie Wonder, performing hit after hit, live on stage, in a sensational and exclusive collection.
Superb, professionally remastered original broadcasts, presented with background liners and timeline photos.
Tracks recorded at ‘Wonderlove’, Soul! TV, New York City, NY, 19th November 1972 (WNET 13); Masonic Temple Theatre, Detroit, MI 14th April 1984 (WRIFFM); ‘NYC Song Competition Awards’, Madison Square Garden, New York, NY 27th September 1986 (WNEW-FM) and Fox Theatre, Atlanta, GA, 28th
November 1988 (WREK-FM).
A 180g Eco mixed vinyl release, pressed on randomly mixed colour compound and presented in a deluxe gatefold sleeve.

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

SINGLE VINYL EDITION OF DODHEIMSGARD'S 1999 MASTERCLASS OF
BOUNDARY-PUSHING EXPERIMENTAL BLACK METAL.To fans of black
metal, Dødheimsgard need no introduction, being one of the great
purveyors of the Norwegian Black Metal creative evolution
The band was formed in 1994 by Aldrahn (Thorns) & Vicotnik (Ved Buens Ende).
The early incarnation was that of a raw & at often melodic black metal band, with
their debut album also featuring Fenriz of Darkthrone on bass. In recent years,
Dodheimsgard has become known for its eclectic musical ventures & poignant
mood shifts, with a less chaotic, more considered approach compared to their
earliest works. Following the 'Kronet til Konge' & 'Monumental Possession'
opuses, there was a shift in direction as demonstrated on 1998's 'Satanic Art' EP
& by Dødheimsgard's third album, '666 International', Vicotnik had taken over a lot
of the writing duties, with DHG's style becoming more technical yet ferocious
black metal, with strong experimental ideas & industrial elements. Vicotnik's riffs
were inspired by cult bands such as Thorns & perfectly entwined with Aldrahn's
delightfully twisted lyrics & immense vocals to create something truly unique. In
its '666 International' incarnation, DHG (as they were later to be known) featured a
line- up of well- respected Norwegian musicians including Czral (Aura Noir, Ved
Buens Ends, Virus), Apollyon (Aura Noir, Immortal), plus Mr Magic Logic (Fleurety)
on keyboards, as the album was constructed over a period of time. All in all, '666
International' is rightly regarded as a highly influential masterpiece of avant-garde
metal by many since its release in 1999.
This edition of '666 International' is presented on black vinyl in single sleeve,
retaining the original cover artwork & contains lyrics.

For Record Store Day 2022 Morcheeba have recruited Orbital, Gui Boratto, Kutiman and Voyou to remix four tracks from their latest album 'Blackest Blue' which was released in May 2021.

This is the second of a series of 12" remixes being released especially for RSD, the first 'Blazed Away - The Remixes' sold out in 2019. This year 'Blackest Blue - The Remixes' includes British giants of electronic music Orbital switching up the signature Morcheeba 'chill' vibe of 'Namaste' to an electronic drum and bass dancefloor stomper whilst producer Gui Boratto's remix of 'Sounds Of Blue' is a progressive Electronica/Chill House masterclass!

Morcheeba’s global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name with a discography spanning three decades.

With at least 12 gold and platinum discs & over 350M all time streams, Morcheeba continue to create their own unique sound, a laid-back mix of fusion, funk, and blues with the sweet, fluid vocals of Skye Edwards.

Dirty Lagoon is a sonic call-to-action, inspired by his experiences living in Ibiza and witnessing first-hand the contrasts between the island’s stunning natural beauty and the environment degradation that occurs due to human-made waste.

The title track is masterclass of kaleidoscopic techno; both colourful and jacking, it is testament to the rich array of sounds the artist has been exploring throughout the past year. An inspiring addition to his discography.

‘Dub Embassy’ is a stirring accompaniment, a beautiful tripped out record full of warm cascading dubby rhythms that begs to be played on a festival system.

Completing the trio, ‘Code is the Code’ is a pin-sharp cut that combines powerful rhythms with peak-time melodic flourishes. In both sound and name, it’s a fitting tribute to Drumcode signature sound that’s thrilling and functional in equal measures. A ‘Code is the Code’ merchandise drop will accompany the release of this track, more details TBA.

Beyer will be donating 100% of the profits from ‘Dirty Lagoon’ to Coral Vita, an award-winning company that protects eco-systems by growing diverse and resilient corals that are then out-planted into damaged reefs.

Lance Ferguson is back for a killer follow-up 7" to his second volume of classic re-works and re-imaginings, Rare Groove Spectrum Vol. 2 - released on Freestyle in late January on LP, CD and digital formats.

We just couldn't resist putting this take on Pucho & His Latin Soul Brothers cover of Gladys Knight's Got Myself a Good Man on a 45. Keeping true to the source, yet somehow simultaneously sounding like no-one else, this version is 100% guaranteed to put a spring in the step of any crowd as the sun starts gradually to come out from hiding. Aside from the faithfully executed and expertly recorded drum-track, which sits pretty higher up in the mix than it's precursor, the star of this particular show comes midway through when Lance's lilting and sun-kissed guitar solo comes gliding in. If you can't move to this, even just a little bit, then you might actually be lacking a pulse. Backing things up is the undeniable latin-funk strut of Mandrill's Mango Meat. Given an instrumental work-out here with Remco Keijer's Flute and Daniel Mougerman's keys putting in work over a heavy-as-lead rhythm section, those delectable salsa-inflicted horns upping the spice levels.

Lance's work across the Rare Groove Spectrum series can often be looked on as something akin to a "live re-edit" on the originals, at times switching up sections or extending the groove. These two choice cuts however are a masterclass in subtly teasing out some of the original elements on the tracks that really make them work on a dance-floor, and bringing those to the fore while retaining 100% respect for the OG arrangements.

Some things take time to happen, some things perhaps take a bit longer than they should but, finally, we are delighted to present an issue of the iconic, and sought-after, Brazilian album 'Alucinolândia' by Zito Righi e Seu Conjunto from 1969.

The trippy, surrealist 60s cover design with hands holding eyeballs is somewhat confusing. Rather than the stoner acid rock record that the art may suggest, 'Alucinolândia' is actually a quintessential 60s gem, mixing samba, MPB, bossa nova, quirky organ-led mod-jazz groovers and easy-listening crooners with a relaxed cool swagger.

Zito Righi aka Isidoro Righi, the Brazilian saxophonist, instrumentalist, conductor and composer brought together an illustrious cast for this masterpiece, including the much-loved vocalist Sônia Santos. Sônia delivers a masterclass on the album's opener, and maybe its crown-jewel 'Poema Ritmico Do Malandro’. The song is fierce and driving with an enticing funk intro that bursts into a Samba / Batucada workout. A real monster that works magic on the dancefloor. Sônia would later re-visit this track in 1971 on a recording for Copacabana Records, which Mr Bongo released as part of the Brazil45 series. The Brazilian songwriter Roberval penned three tracks on the record, including another highlight and the far too short 'Birimbau'; a catchy Brazilian jazzy-samba dancer at its finest. Other musicians include the drummer Fernando who also recorded with the greats Dila & Guilherme Coutinho.

The fact the record was released in 1969 meant it was probably a bit out of step with its contemporaries in comparison to the works of artists such as Os Mutantes, Gilberto Gil et al. The core of 'Alucinolândia' is that of a more optimistic early to mid-sixties party feelgood vibe rather than the angsty, psychedelia, and rebellion of the Tropicália movement. Over 50 years since its release, the work can finally be judged on its own merit; and what a beauty it is.