Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.
Risk/Reward is the brainchild of New York based, London-born underground music scene veteran and Archivio Records owner Daniel Dutts.
The label fuses leading contemporary artists, with iconic 90s producers to create a playful yet sophisticated sound, firmly focused on creating dance floor magic!
The first EP showcases rising Philadelphia talents Post Play (Sweater & John Raffaele), whose previous excursion on Small Moves became a much sought after cult classic.
Danger is what’s commonly known by DJs as a “sure thing”, guaranteed to get the most stubborn of crowds moving. A cheeky bass groove, quirky stabs, hip hop breaks and scratched vocals, create a vibe best described as “if DJ Premier made a track for Wiggle in the late 90s”
Go blends vintage Nu Groove style NYC house with progressive and techy elements to create a unique dancefloor monster. warping speed garage style sub bass combines with punchy stabs, lush pads, trippy synth leads and skippy, swinging drums, creating an atmospheric but driving track, that keeps you guessing til the very end.
Bushwacka! channels his Plank-era heyday to create a remix of Danger that delivers multiple “what the f#%k was that?” moments, as he takes you on a breakbeat voyage with crisp percussion, devastating low end, hypnotic ragga vocals and a didgeridoo no less! A reminder of the man’s genius and genre-defining sound.
What I Meant To Tell You merges warm, J Dilla style sampled chords, with punchy 808s, a deep and warm bassline, dreamy pads and enchanting male/female call and response vocals. Perfect for a warm up or deep in the afters.
With heavy support from the likes of Dyed Soundorom, Tini, Harry McCanna and more, the Post Play boys are ready to add another buy on sight record to their growing discography.
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
Quickly on the heels of their debut, Cuneiform Tabs return with Age, an LP that takes a massive leap forward in both melodic sensibilities and inventiveness. Bathed in late night psychedelia and the looping repetition of a drone sample, the group's experimental penchants remain, yet this time wrapped around tunes too sweet to be denied. In pulling back a little of the crackle and haze that made their first album so inviting, the Tabs have revealed more of their pop instincts. The overall effect is a perfect set of early Animal Collective demos or Syd Barrett attempting a Television Personalities cover at 3am.
The duo of Matt Bleyle and Sterling Mackinnon continue their system of trading 4-track tapes between the Bay Area and London, a furtive correspondence until sonic nuggets are fully formed. While these songs are very much the product of the Tascam and rudimentary software that is integral to the band, this album is truly the embrace of their songwriting talents – not unlike the recent breakthrough of labelmate Cindy Lee.
With the dream-like strum of "Ivy," slow shimmer of "Orbital Rings" and enchanting, madcap swirl of "Blended Medal," this is hypnagogic pop at its finest. Age is the record Bob Pollard hears in his head every time he steps down to the basement to pick up a guitar. This is the sound of riding in an elevator hearing McCartney singing "Blackbird" in the distance, only to have it draw closer and closer with each floor as you finally race down the hallway, putting your ear to each door searching for the source. This is Leonard Cohen smoking in the middle of the street outside a Suicide show. If all of this sounds phenomenal, it is.
"Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith." Joe Boyd
'But for this compilation of rescued songs masterfully restored from rare 78 rpm shellacs, few could imagine the diversely beautiful roots of Zulu Guitar Music emerging during the period 1950 – 1965. Story-tellers and master musicians appropriate outlaw personae, re-purpose country and western, Hawaiian and other styles, to stretch and challenge our notion of “the Zulu guitar”.
Twenty-five songs (18 on vinyl) plunge us into the depths of the migrant experience. Translations in the liner notes offer us glimpses of pugnacity, melancholy and heartache, all coloured by the paternalism that circumscribed the singers’ apartheid-dominated lives.
The early *mbaqanga* undertow in many of the songs subverts the wanderlust of Country and Western music into a fugitivity burdened by nostalgia. Something irretrievable has been lost, prompting a blending of ideas and cultures to make sense through thankless acts of musical divination. Inadvertently they have been thrust into the role of the antihero, where outwitting competition for lovers is as important as evading the Black Jacks (apartheid’s municipal cops) and their informants.
Considering the politically repressive period that this music emerges from, we can surmise that the specificity in the storytelling went a long way towards evading censure. But even when words are absent, there is a narrative arc suggested by the musical expression.
With most of the master tapes wilfully destroyed or lost, modern transcription and restoration techniques from the original shellac discs present the original sound most likely more clearly than ever heard before.'
Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music and Siemon Allen at Flatinternational.
Artwork design by Siemon Allen.
Liner note and translations by Kwanele Sosibo.
Audio restoration and lacquers by Frank Merritt at The Carvery and pressed at Pallas, Germany.
Original 78rpm recordings sourced from the collections of Chris Albertyn at Matsuli Music, and Siemon Allen at the Flatinternational Archive.
“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)
“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)
Veteran Drummer Ken Serio has been a staple on the New York
studio scene for over 30 years
and has appeared on over 70 CDs,
as well as 18 as a leader. His new release Brooklyn Oasis is his most ambitious release to date and features Jazz Legend Ron Carter
on Bass as well as Tomoko Ohno
on Piano, and Saxophist Dave Mullen. Recorded October
24th at The Acoustic Studio in Brooklyn NY, and produced by
Bob Cowley, it features two
originals The title track
“Brooklyn Oasis” penned
by Ohno, as well as "For Micheal
" a heartfelt tribute to the late
Micheal Brecker by Dave Mullen
. Liner notes by Jazz journalist
Bill Millkowski, and also Hammond great Brian Charette. Other songs include the McCoy Tyner burner “
Changes”, “Dindi”, the Jobim classic,“Hard Eights” by Lyle Mays
, “In Your Own Sweet Way”, by
Dave Brubeck, and the lovely “
Skylark” by Hoagie Carmicheal.
In celebration of their 35th anniversary, Leftover Salmon, the legendary
bluegrass-rooted jam band, will be releasing their new studio album, Let's
Party About It
Let's Party About It reaffirms their status as pioneers of blended bluegrass and
showcases their unmatched musical chemistry. For the first time ever, the band wrote
the album together in a single session as a group. Longtime friend of the band and
storied songwriter Aaron Raitiere (Lady Gaga, Lukas Nelson, Ella Langley, Lainey
Wilson, Anderson East, The Lone Bellow, Trace Adkins, and more) also joined the band
for the writing session. The resulting album captures the energy and camaraderie that
have defined Leftover Salmon's three-and-a-half-decade-long career.
The album was recorded at Compass Sound Studio (formerly Glaser Sound Studio,
aka "Hillbilly Central"), the iconic birthplace of Outlaw Country, with the band joined by
special guests such as Del McCoury (vocals), Sam Bush (fiddle, mandolin), Jason
Carter (fiddle), Jeff Coffin (saxophone), and more.
Gary Bartz is one of the greatest living saxophonists, with a career that has seen him play with McCoy Tyner, Art Blakey and Miles Davis. From 1969 he lead his own band and his 70s Milestone and Prestige albums contain many great tunes.
We have selected the Andy Bey sung ‘Celestial Blues’, an all-time classic of spiritual jazz that appeared on his 1972 album NTU Troop album “Harlem Bush Music – Uhuru”.
This is paired with ‘Gentle Smiles (Saxy)’ sampled by A Tribe Called Quest in 1991 on their track ‘Butter’.
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
This outernational project sees the UKs South West unite with Italy's South Tyrol. No Ice Cream Sound makes the journey from the beach to Bolzano to link up with Berise. Multilingual lyrical mastermind; frontman of Stantipowa and longstanding MC alongside Wicked and Bonny. The breathtaking back drop of the mountains sets the scene as Berise works his magic on this heavy hitting steppa style riddim. Much like the landscape, the rolling bass is covered with a message of positive vibrations!
Flipping to the B side we head back west to Spain where we link up with steppa maestro High Nebra. The warmer climate providing the inspiration for a high energy take on this track. We see him take on this already solid riddim and carve it out into that european style we all know and love. As the dance draws into the early hours it's tunes like this that keep the vibes alive!
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
5 Borough Breaks return with another classic 90s banger - this one lit up the airwaves of Hot 97 when it dropped back in 95. On the flip as always is the original sample source, this time from a recently departed soul icon
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
Freddie McKay’s self-produced 1977 LP Harsh Words has finally returned to circulation. Initially released in Jamaica on Gorgon Records, a subsidiary of Sonic Sounds, it was issued in the US by Salsoul Records’ sister label Salsoul Salsa Series in 1982. The album includes 10 tracks, featuring previously issued singles from the ’70s along with exclusive songs like the title track Harsh Words, Feel So High, and Travelling. McKay’s gritty, soulful voice is backed by top-tier musicians, including Sly & Robbie, Fish Clarke, Flabba Holt, Bingi Bunny, Ranchy McLean, Ansel Collins, Winston Wright, Bobby Ellis, Don D Jr, and Sticky.
The nearly simultaneous reissue of Freddie McKay’s LP Harsh Words by France’s Only Roots under McKay’s Amethyst label and Switzerland-based Reggae Fever under the Kismet label raises some eyebrows. France’s Only Roots claims a licensed release from Freddie McKay’s estate, while Switzerland-based Reggae Fever acknowledges Patrick Harty as the producer behind their release. Harty owns Jamaican label Kismet, known for its unofficial releases.
“I was attracted to the lyrics immediately,” says legendary Beatles engineer and producer Geoff
Emerick, on the demos for what would become Nellie McKay’s 2004 critically-lauded debut album,
Get Away From Me. “Her level of maturity at such a young age is astounding. You come across an
artist of this caliber once every 10 or 15 years. And I don’t do a lot of projects these days unless
something really stands out like this did.” Get Away From Me landed on the Billboard Top 200, received HHHH from Rolling Stone, and Nellie made her network television debut on The Late Show with David Letterman. In 2020, Salon hailed the record as “one of the great pop albums of the early 21st century.”
Recorded live in 1961, this album by the Horace Silver Quintet captures all the energy and groove of hard bop. Driven by Silver’s percussive and melodic piano, the quintet—featuring Blue Mitchell on trumpet and Junior Cook on tenor saxophone—delivers intense and spirited performances. Tracks like Filthy McNasty and Doin’ the Thing showcase remarkable musical chemistry, supported by a solid rhythm section provided by Gene Taylor and Roy Brooks.
Carlos Santana ist der große musikalische Kollaborateur, der seinen einzigartigen Gitarrenstil und seine weitreichende musikalische Vision mit einer großen Vielfalt von Künstlern verbindet, um etwas Neues, Einzigartiges und Transzendentes zu schaffen. Santanas Vision für Sentient war es, seine jüngsten Kollaborationen aus einer neuen Perspektive zu betrachten und sie zu einer klanglichen Pilgerreise durch Jazz, Hip-Hop, Soul, Rock und lateinamerikanische Rhythmen zu verweben. Er hat die Songs nicht nur so arrangiert, dass sie seiner Vision entsprechen, sondern viele von ihnen auch neu interpretiert und einige Aspekte der Tracks verbessert, um ein kohärentes Hörerlebnis zu schaffen. Die Songs auf Sentient reichen von aktuellen Hits und Kollaborationen mit Superstars bis hin zu seltenen, unveröffentlichten und übersehenen Tracks, die Carlos in einem neuen Kontext präsentieren wollte. Das Ergebnis ist eine spirituelle Reise durch die unendlichen Möglichkeiten der Musik, geführt von Santanas kompromissloser Muse.
In nearly a decade, songwriter Sonia Weber’s ability to pen precise lyrics and memorable riffs has become laser-focused. As a result, the songs feel like they’ve been assembled with all the intention and care of a mixtape to a high-stakes crush. Caleb Misclevitz, A.P. Fiedler, and Derek McNeil round out the band, bringing the giant loud guitar rock feeling these songs require. The Portland outfit crafts songs big enough to fill an arena while simultaneously conjuring the emotional intimacy of making out in the bathroom of your favorite karaoke bar. Alien Boy does this by harnessing the raw power of PDX’s Wipers’ but not being afraid to embrace the pop catchiness of rock titans like Oasis or Third Eye Blind, all while crafting a tone and power distinctly their own. Whether listened to in your headphones in bed or witnessed live in person, Alien Boy leaves an emotional crater that’ll keep you coming back for more (Gem Fair)
2CELLOS are back with their third album Celloverse, which returns to the sound and concept of their self-titled debut, building on Luka Sulic & Stjepan Hauser's unique ability to re-imagine current and classic rock and pop songs with their own extraordinary energy — blasting instrumental music off into a whole new Celloverse. The album includes audio recordings of their YouTube releases of "Thunderstruck" and "I Will Wait" as well as new takes on songs such as Avicii's "Wake Me Up," Iron Maiden's "The Trooper" and another Michael Jackson favourite "They Don't Care About Us." The title song is a 2CELLOS original, and to top it all off, there's an unforgettable guest collaboration with their good friend, Lang Lang on the Paul McCartney classic "Live and Let Die." Celloverse is available as a 10th anniversary edition of 1000 numbered copies on orange coloured vinyl and includes an insert.
Full throttle from Vancouver, BC to wherever the open road takes them The Vicious Cycles are BACK with their new LP Get Wrecked on Pirates Press Records! Before you even get the shrink wrap off the gatefold jacket, you can guess what kind of party you're in for. "Our pal Shakey Deal is the cover model," says Cycles head honcho Billy Bones. "A tuff looking scrub on a minibike says a lot about who we are." And who is that exactly? "We play garage/punk rock and roll songs about motorcycles. We like to have a good time." The promise of debauchery carries over into song titles like "Naked On a Beach," and "On Fire in the Hot Tub." As rip-roaring, danceable party music goes, it's second to none, and rest assured there's plenty of bike enthusiast inside baseball, but the lyrics often go deeper than a superficial glance might indicate. For example, the lead single, "Hold On Tight," is about, as Billy puts it, "the physical feeling of riding with your favorite person on the back of your motorcycle - easily one of the best feelings a human can have." So, a classic biker anthem? "But also," he's quick to add, "a metaphor for life and relationships. We're gonna make it." Waxing philosophical with motorcycles as allegory over chrome-plated punk rock 'n roll? That's The Vicious Cycles' songwriting in a nutshell. Another album highlight, "Daddy Was a Gambler" references Billy's father - an ex-preacher who regularly hauled his kids to Circus Circus in his '57 Chevy - and his mother, a nurse and, as Billy puts it, "as close to an actual saint as anyone in the world. The song is an appreciation for the two of them, and how their differences made me who I am." "Naked On A Beach" sounds like a party, but Billy explains it's "a critique of capitalism and the tiny lives we're expected - and sometimes content - to live." Even the title track, "Get Wrecked," is more than just a statement of defiance; it's a message to Billy's son about dealing with the conformist naysayers of the world. Longtime fans & newcomers alike will be stoked for the straightaways, but stick around for the twists and turns, just like any good ride. The band brings in pals on strings & saxophone for a 60s Wall of Sound-inspired production on "Black Boots, Black Leather Jacket," and try their hands at their first murder ballad on "Pretty Hands." There's an instrumental tune ("Blowing Smoke") and hell, there's even a deep cut cover of "Trouble Again" - originally performed by Stewart Copeland of The Police - which only the biggest nerds of a certain age will recall as the theme song to the 80s Star Wars animated series Droids! In the end, no matter the detours, the band - along with Jesse Gander (Territories, Comeback Kid), & Mariessa McLeod at Rain City Recorders - kept their eyes on the prize: sing-along choruses, handclaps, and short songs that get the job done and don't overstay their welcome. "I didn't want us to write a record that you could dance to." quips Billy. "I wanted us to write a record that you couldn't not dance to."
James Taylor has been writing/recording albums and touring for the past 43 years, starting with The Prisoners and then The James Taylor Quartet (JTQ) from 1986 onwards, to great acclaim. Taylor was the pioneering force that spear-headed the Acid Jazz movement in the 90's, which saw a renaissance in live music. He has also virtually single-handedly driven the rediscovery of the Hammond organ, his trademark keyboard. He has developed his composition and arrangement skills and with these has recorded over 20 library albums. The most recent of the library albums include the four tracks on this very EP, which feature Taylor's innovative horn arrangement skills, placing JB style horns over a funk groove, but in this case he had the novel idea of incorporating two guitars; one funky, one rocky. Sort of James Brown meets The Rolling Stones, and the result can be heard on this slab of vinyl. The current live line-up for The James Taylor Quartet is James Taylor (keyboards and orchestration), Mark Cox (guitar), Andrew McKinney (bass) and Pat Illingworth (drums).
The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.
The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.
Trambeat are an original soul band from Croydon, South London, formed in 2012 by songwriting duo guitarist Graham Potter and drummer Des James. The two played together in various bands over the years, eventually bringing together like-minded musicians from the Croydon music scene to form Trambeat. The name "Trambeat" derives from the where the band call home, with all band members living along the tram line that runs through the heart of Croydon. Initially the band operated as a loose collective, recording music and self-releasing it online and on CD. But following the 2013 release of their debut vinyl single, "Walk a Mile In My Shoes", and debut album "Tales From the Comprehensives" on Berlin labels Firestation Records and Sundae Soul Records, things began to move fast. With regular airplay by Gary Crowley on Radio London, offers of gigs began to roll in and they quickly morphed into a tight and exciting live band. Trambeat have supported the likes of Ranking Roger's The Beat, Geno Washington, The Four Aces (Desmond Dekker), Shakatak, The Flatmates and The Popguns and have featured at festivals right across the UK and Germany. Trambeat's debut release with LRK Records in 2023, the uptempo funk/soul crossover song "Don't Hold Back", proved popular at both Northern Soul and Funk clubs and was championed by "Northern Soul Girl" Levanna McLean who released a widely viewed clip dancing to the record. Indeed it became a staple at her very own Bristol Northern Soul Club and Funk Addict nights. The new single, "All Killer, No Filler", builds around a sultry, strutting bass riff bolstered by jazzy horns and a funky Nile Rogers influenced guitar. Vocalist Aimee lays down her manifesto for love without compromise, before building to an anthemic chorus you can't help singing along to.
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
"Falling For You" ist eine massive neue 2025er Soulnummer der aufstrebenden Soulsängerin Windy Karigianes aus Las Vegas. Der Song wurde von Soul-Veteran Randy Hall komponiert und u.a. mit dem Teena Marie-Bassisten Allen McGrier aufgenommen. Da Windy ein Teena Marie-Fan mit ähnlicher Stimme ist, sprang Georgie B ein und schuf mit seiner Version sowohl eine Hommage als auch einen frischen modernen Soul-Groove. Ein Original jenseits der Nostalgie und ein Mix, der derzeit die britischen Soul-Charts anführt - beide zusammen auf einer 7".
out of Stock
Last delivered 64 days ago available to reorder, subject to availability
Cenk Esens Name ist in der Londoner Jazzszene allgegenwärtig, wo er sich als gefragter Keyboarder etablierte. Der Sohn des wegweisenden türkischen Jazz-Fusion-Keyboarders Aydin Esen studierte am renommierten Berklee College of Music, zog nach London, und entwicklete sich zu einem der beeindruckendsten Pianisten der Szene, mit Auftritten u.a. im Kultclub Ronnie Scott. Nach mehreren hochgelobten Singles und seinem jüngsten Album "Chaos In The CBD", präsentiert Cenk nun sein neues Meisterwerk, die LP "Endlessly". Aufgenommen in den weltberühmten Air Studios mit den Weltklasse-Musikern MckNasty (drums) und Tom Driessler (bass), gelingt ihm ein wahrhaft fesselndes Hörerlebnis.
Ben McElroy is a folk/experimental/ambient artist based in the UK. He has released prolific albums since his 2016 debut ‘Bird Stone’ for whitelabrecs. Notable releases since then include 2018s ‘The Word Cricket Made Her Happy’ for Eilean Rec and 2022s ‘How I Learnt to Disengage From The pack’ on The Slow Music Movement (which was folk album of the month in the Guardian).
«This album evolved from long improvisations on pump organ and cello. I really wanted to play the instruments as a form of therapeutic release, a kind of stimming, paying more attention to this than the Appollonian aspects of the music. So scrape and repetition… anger and using the bow/keys to really try to gnaw into deep, old brain feelings.
I often start things with improvisations, but then tidy, smooth things out… I wanted to keep that aspect to the minimum here.. there is some, but where possible I’ve kept the squeaks, the noises, the mistakes.
The project took on another dimension when I received some funding from PRS Foundation, allowing me to bring more artists (Debbie Armour on vocals, Elinor Rowlands on spoken word and Nick Jonah Davis on guitar). Where possibly, these collaborations were also improvised, in the moment and left a little raw.
The funding also allowed me to create an accompanying film ‘Widdershins & Deosil.’ Shot with filmmaker Benjamin Wigley on 16mm film in Derbyshire, it is an abstract story of magic and puppetry using elements of the album as soundtrack.» - Ben McElroy
The first solo album from Keith Streng, the legendary guitarist of The Fleshtones, the greatest garage rock band in the world! Featuring 12 tracks that span from psychedelic rock to '70s rock, with a strong garage rock essence. For this special occasion, Keith has invited some prestigious artists to collaborate on the album. Two tracks feature The Limiñanas, with whom he will be sharing the stage as a guest guitarist on all their 2025 tour dates. Several tracks include Peter Buck and Scott McCaughey of R.E.M.. The French scene is also well represented, with the young prodigies Dynamite Shakers on one track and Tony Truant on another. And, of course, longtime collaborators Michael Giblin and Kurt Bloch from his side project The Split Squad. Adding a touch of magic, the Red Chuck Tabernacle Choir brings light to the stunning ballad "More Than Beautiful". Kurt Bloch (Fastbacks / Young Fresh Fellows / Presidents of the USA) also mastered the album. The "most hard-working man" Keith Streng will be on stage in France this June for several dates with his fabulous Fleshtones.
"A powder keg of bangers primed to shake the rat race to its core" - The Guardian Australia (Best of 2023) "Simultaneously chaotic and precise, no matter whether the palette is fierce rap, punk energy or slinking beats." - Rolling Stone Australia (Best of 2023) London/Melbourne rap duo Teether & Kuya Neil release their long-awaited debut album YEARN IV. YEARN IV captures the brooding and vivid world of two musical outsiders. Raised by the internet, the pair find their voice amid a sea of clashing cultural experiences and sonic histories, finding solace in the isolation of contemporary urban Australia. Recorded in Melbourne and completed in London, the album captures the duo's hyper local yet globally influenced rap sound at its core. Kuya Neil's drum heavy production collides with Teether's surreal and immersive storytelling, blending thrash metal and club music aesthetics with the echoes of the early internet. Lead single `ZOO' plays with the silent throes of cultural diversity over a paranoid trap instrumental, 'BLUSH' is a blissed out digital love letter wuth shimmering autotuned hooks and rave inspired breaks. `CHANEL' (featuring Indigenous Australian songwriter Alice Skye) is a guitar driven lament for Australia's myopic cultural landscape, fading out with "I'll never reach my full potential here". Teether & Kuya Neil released their first mixtape GLYPH via Chapter in 2021, receiving airplay from NTS, Dublab and Australian radio, plus writeups via Brooklyn Vegan and NME. Four tracks from `GLYPH' were featured in the iconic Australian Netflix series 'Heartbreak High' the following year. 2023 mixtape STRESSOR charted in the Australian Independent Top 10 and made it into end of year best of lists for The Guardian, Rolling Stone and NME Australia. The mixtape was nominated for Best Hip Hop Album at the 2024 Australian Independent Music Awards and named Album of the Week by 3RRR and fBI Radio. Teether & Kuya Neil have performed around Australia and New Zealand. They have played alongside international peers MC Yallah & Debmaster and They Hate Change as well as supported veteran alt-rap outfit Shabazz Palaces and Chicago Footwork pioneer RP Boo. As a solo artist, Teether has collaborated with New York rapper Billy Woods and toured with his outfit Armand Hammer in Australia in 2022. In 2024, he opened for the legendary Kim Gordon. Kuya Neil is an active producer in underground dance music, releasing tracks on UK labels Chinabot and Moveltraxx and has toured South East Asia as a DJ and promoter.
Nachdem Grachan Moncur III bei Blue-Note-Aufnahmen von Jackie McLean und Herbie Hancock auf sich aufmerksam gemacht hatte, produzierte Alfred Lion für das Label zwei Soloalben des versierten AvantgardePosaunisten. Auf “Some Other Stuff” ist er mit einem besonders abenteuerlustigen Ensemble zu erleben, dem gleich drei Musiker angehörten, die seinerzeit im legendären zweiten Quintett von Miles Davis spielten.
Wie kann es sein, dass das 1969er Album „Off Centre“ als eines der gesuchtesten britischen Jazz-Alben gilt und nur für größere Summen den Besitzer wechselt, obwohl Frontman John Cameron kein namhafter Jazzmusiker ist?
Ganz einfach: Cameron ist einer der erfolgreichsten und vielseitigsten britischen Studiokünstler, hat Hits für Pop-Stars wie Donovan, Cilla Black und Hot Chocolate arrangiert und Musiken für bekannte Filme und TV-Serien komponiert. Tief im Herzen muss Cameron allerdings ein Jazzmusiker sein, das beweist sein Quartettalbum als Pianist zusammen mit Bassist Danny Thompson (Nick Drake, Kate Bush, Peter Gabriel), Saxofonist & Flötist Harold McNair (Quincy Jones, Blossom Dearie, Ginger Baker) und Drummer Tony Carr (Bryan Ferry, Joan Armatrading, Wings).
Das dynamisch swingende, groovende Album erlebt jetzt seine erste Vinyl-Wiederveröffentlichung, remastert in den Abbey Road Studios von den Original-Analogbändern. Eine großformatige Beilage präsentiert ein ausführliches neues Interview mit John Cameron.
First limited-edition vinyl EP in a series of EPs to celebrate the 20th anniversary of Chinese Man and Chinese Man Records. The series kicks off with a look back at the various collaborations between Chinese Man and Tha Trickaz over the years. This EP compiles one colaboration and three Tha Trickaz remixes of CM tracks. Yellow Transparent 12" Vinyl!
Jubiläums-Reissue! Die Schwedischen Punkfolker hauten 2015 mit ihrem zweitem Album 15 dermaßen geile Melody-Kracher raus, das es nur so eine wahre Freude ist! The Sensitives kombinieren Folk, Punk, RnR / Billy teilweise mit Country- und Offbeat-Elementen zu einem wilden Mix, bei dem sowohl live als auch auf Platte sofort der Funke überspringt! Vom Geheimtipp mit unzähligen DIY Pub- & Clubshows in ganz Europa, wechseln die Schweden mit ihrem Album Dogs on the Run jetzt auf die Überholspur, schon der Opener "Kick a hole in the sky" stimmt auf die weiteren 40 Minuten vortrefflich ein nd mit "To the Punx" schafft das Trio nebenbei eine Szenehymne, die sich gewaschen hat! Der charismatische Gesang von Paulina & Martin verbunden mit einem abwechslungsreichen Songwriting zwischen schnellen Pogo-Tracks und coolen Mid-Tempo Ohrwürmern zieht sich dann auch durchs ganze Album! Das hat mehr als nur Charme, ist verdammt authentisch und der Funke springt sofort über! Man kann ohne Übertreibung sagen, dass The Sensitives eine absolute Ausnahmeband sind!! Für wen Dropkick Murphys, Gaslight Anthem oder Baboon Show keine Fremdwörter sind, für den ist diese Scheibe wie gemacht! Mehrfarbiges Vinyl!
Demon presents the second volume of the Tim Burgess Listening Party compilation. Following on from the success of
2024’s listening party, Tim is back with a further 24 eclectic cuts. This 2LP collection is pressed on blue translucent
vinyl, bringing together 24 further highlights from the 1,278 Listening Parties that took place.
The parties themselves were an eclectic mix of genres and eras, and the compilation reflects that with track from Paul
McCartney, The Magic Numbers, Ibibio Sound Machine, Róisín Murphy, Iron Maiden, Laurie Anderson and Norah
Jones.
“I’d done Charlatans listening parties and some solo album listening parties, and as the Twitter followers grew, I’d
repeat it and do it again and again. It was maybe about a week before being told that we were going to go into a
lockdown before we actually did something. I saw all the TV stuff, all the kind of crazy things that were happening and
thought if there’s going to be a lockdown, there’s going to be something that I can do.”
As well Tim's Twitter Listening Party, Tim's Listening Party is also a six-part radio and podcast series airing on Sunday
nights on Absolute Radio.
Listen to This.” As the original working title for Bitches Brew, the instruction and invitation remains to this day as the best way to approach a record that shattered conventions, altered music history, and, 55 years later, still sounds far ahead of its time. The template for jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity’s UltraDisc One-Step 180g 33RPM 2LP vinyl set.
Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.
Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.
Davis conceived Bitches Brew by having the musicians stand in a semi-circle. There, he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Benefitting from the ultra-low noise floor and superb groove definition of this pressing, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint canvases laden with millions of colors and shades. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.
Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew set call attention to such matters. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. It is made for discerning listeners who desire to fully immerse themselves in everything surrounding the album, from the images to the tones. And this is one effort where every last detail matters.
Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to “put together the greatest rock and roll band you ever heard.” Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.
A without-a-net experiment involving interchangeable double-quintet lineups, Bitches Brew explores the previously unimaginable with electrified instruments — Fender Rhodes piano, processed trumpet, dissonant guitars, and bass among them — and an emphasis on feeling over composition. Mesmerizing and soothing, jarring and smooth, overt and subtle: The music seemingly covers an entire map of emotions and sensations, and like no record before, ties together the groundbreaking creativity of the multiple disciplines that were changing popular culture at the end of the 1960s and dawn of a new decade.
Conceptually, Davis described Bitches Brew as “a novel without words” and “an incredible journey of pain, joy, sorrow, hate, passion, and love.” The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles Davis used to conceive Bitches Brew.
More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called “converts”) are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.
**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**
Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.
Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”
Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.
This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.
From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.
As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.
After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.
“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."
Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.
Our fourth album finally gets the vinyl pressing it so richly deserves.
Originally released in 2007, Rude Mechanicals found us firing on all cylinders. The nine years since our debut had been spent touring our cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.
We successfully combined and refined the stand-out elements of our previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.
From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds us addressing climate change and greed, with lyrics by Auckland MC KP.
To create the double-vinyl release, Angus McNaughton re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.
Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
Team TD take a break from re-scoring Colin McCrae Rally to pay our own oddball homage to some of our DJ deities in the form of Talking Drums Volume 8.
Keeping things diverse-yet-disco, this little mover grooves through Muzic Box pump, Lofty symphonics and a Ku-curveball with a smile on its face and a pep in its step.
The A-side erupts in a flash of sexy Euro-NRG, twisted and lifted to give any sweatbox a massive Hardy-on. Sequencers throb, swell and burst, horns wail and not one, but two, killer basslines blast the floor with erogenous urgency. Chuck in a coquettish vocal, delay madness and a fist pumping breakdown and you've got pure peak-time play folks.
The B1 belongs to the sumptuous strings, loose funk and live disco strut of 'Too Hot'. Low slung, low tempo but plenty punchy, this classy cut builds and builds through Merc-y repetition before blooming a fully fledged groover. Taut funk breaks sit beneath a floor-filling vocal and twinkling Rhodes, the wah guitar works overtime, and it all adds up to take the dance floor temperature sky high. Enjoy on a hi-fi sound system with plenty of spiked punch.
The curtain call comes via the alfresco flamenco-frenzy of Ronseal-approved 'Maximum Balearic Dancer', which does exactly what it says on the tin. The TD troupe takes a tiny snippet of Swiss fusion and fleshes it out into the fully fledged floor-filler it always deserved to be. Blessed with a buoyant bassline and balmy mood, this beauty sways along through some weird but wonderful synth riffs, holding you close for that soul-soaring piano solo.
Sometimes you gotta wake up on a beach naked.
Limited Press - Numbered Insert - Drum Fun Guaranteed. .
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
Die Musik von Prima Queen ist offen, mitreissend, charismatisch und eine Welt für sich. Wenn man sich ihr grossartiges Debütalbum "The Prize" auf Submarine Cat anhört, möchte man in all seinen überschwänglichen, einfühlsamen Melodien eintauchen und in der Wärme der beneidenswerten Verbindung zwischen den beiden Musikerinnen baden, die den Kern der Platte bildet. Die 12 Songs von Louise Macphail und Kristin McFadden greifen auf das schillernde Pop-Gefühl von HAIM und Jenny Lewis zurück und sind von der Offenheit des Geistes geprägt. Sie sind von der Euphorie inspiriert, die Prima Queen im vergangenen Jahr auf der Bühne erlebte, als sie mit Olivia Dean, Dream Wife und Swim Deep tourten. Die beiden Frauen etablieren sich als scharfsinnige, erfrischend offene Songwriterinnen, die übergrosse Gefühle mit Anmut und Witz zum Ausdruck bringen.
Einst waren Rialto unverletzlich ("Untouchable"), sind aber bereits Ende der 90er erst morgens nach fünf heimgekommen ("Monday Morning 5.19"), nun kündigen die britischen Kult-Britpopper ihr erstes neues Album seit 24 Jahren an: "Neon & Ghost Signs" wird im April 2025 über Fierce Panda Records veröffentlicht. Es ist eine Reunion, die nicht so sehr von der Sehnsucht nach der Vergangenheit angetrieben wird, sondern vielmehr von der Dringlichkeit, das Beste aus dem Jetzt zu genießen. Vor sechs Jahren wurde Sänger und Songschreiber Louis Eliot während eines Spanienurlaubs für eine Notoperation ins Krankenhaus gebracht und ist dabei kurz dem Tode nah gewesen. Seine vollständige Genesung war eine Epiphanie. "Man könnte meinen, wenn man dem Tod sehr nahe ist, sollte man anfangen, sich um sich selbst zu kümmern", sagt er. ,Aber ich bin einfach mit Vollgas meiner Jugend hinterhergejagt. Ich dachte mir nur: Egal, vielleicht bin ich nächste Woche nicht mehr da, ich stürze mich einfach rein." Ein Teil von Eliots Wiedergeburt bestand darin, dass er eine langjährige Beziehung hinter sich ließ, um erneut in die Londoner Club-Szene einzutauchen. Ein bedeutender Teil davon waren die Romantik und die Verwundbarkeit, die er dort fand. Ein anderer Teil davon war die Erkenntnis, dass die Songs, die in dieser Zeit entstanden - Lieder über Liebe und Verlust, Hedonismus und Reue, die in wehmütigen Geisterstunden spielen - ein Ruf aus der (eigenen) Vergangenheit waren. Neon and Ghost Signs eröffnet in gewollt simpler und eingängiger Dancefloor-Ästhetik mit der ersten Single "No One Leaves This Discoteque Alive". Eliot, mit einem lasziven Brel-Knurren, vergießt Tränen in der Discotheque, ist "der Hund der Londoner Stadt", wo "die Laken mit Gold befleckt sind", der darauf aus ist, "seinen Kopf zu verlieren" und Liebe als perfekten Sturm zu erleben. Es ist der Auftakt zu einem "Durch die Nacht mit...", den das gesamte Album mit der von Rialto bekannten Widescreen-Pop Leidenschaft verfolgt. Rialto waren in Südostasien Superstars mit Doppel-Platin und in Großbritannien immer ein hochgelobter Kult, aber zweifellos eine Band, die ihrer ästhetischen Zeit voraus war. Nach dem zweiten Album Night on Earth im Jahr 2001 löste sich die Band auf und Eliot arbeitete regelmäßig mit Grace Jones und Danny Goffey von Supergrass zusammen; als Songwriter schrieb er u. a. das mit dem Ivor Novello ausgezeichnete "Leave Right Now" für Will Young; er veröffentlichte 2004 ein Soloalbum und 2010 eine sehr ländlich klingende Platte als Louis Eliot And The Embers und veranstaltet das Port Eliot Festival in Cornwall mit 8.000 Besuchern. Als col. LP, CD oder MC!
Nach wichtigen Stationen bei Silver Jews und Lambchop hat William Tyler eine Reihe von neugierigen Alben veröffentlicht, die seine ländliche Herkunft und seine Begeisterung für klassische Musik mit seiner Experimentierfreudigkeit und Feldaufnahmen verbinden. Seine produktive Enklave der Instrumentalmusik hat nicht nur neue Klänge hervorgebracht, sondern auch kritische neue Stimmen. Kein anderer amerikanischer Sologitarrist dieses Jahrhunderts hat diese fruchtbare Szene so beeinflusst wie er. Und auf dem brillanten, erfrischenden "Time Indefinite", Tylers erstem Soloalbum seit fünf Jahren, betritt er endlich den immer größer werdenden Raum, den er mit geschaffen hat. Die Gitarre ist der Ausgangspunkt für ein Album, das nicht nur Tyler, sondern auch die Möglichkeiten eines ganzen Bereichs neu überdenken lässt. Ein Strudel aus Lärm und Harmonie, Geistern und Träumen, Angst und Hoffnung - es ist nicht nur eine großartige Gitarrenplatte. Es ist ein atemberaubendes Album eines großen Gitarristen, ein Meisterwerk unserer kollektiv ängstlichen Zeit. Anfang 2020, als die Welt am Rande ungeahnter Unruhen stand, verließ Tyler LA und zog nach Nashville, wo er die meiste Zeit seines Lebens gelebt hatte. Der größte Teil seines Equipments und alle seine Platten blieben zurück, in Erwartung einer vermeintlich schnellen Rückkehr. Das war natürlich nicht der Fall. Während Tyler also mit den Depressionen, den Nerven und den Fragen dieser unendlich angespannten Zeit zu kämpfen hatte, begann er, Ideen mit seinem Telefon und einem Kassettendeck aufzunehmen, wobei er sich mit den Verzerrungen, die diese Geräte mit sich bringen, abfand. Tyler sprach mit Kieran Hebden darüber, eine gemeinsame Platte zu machen, und einige dieser Stücke fühlten sich wie Testfälle an. Als diese Zusammenarbeit in andere Richtungen ging, entdeckte Tyler andere Klänge. Er bat seinen langjährigen Freund, den Produzenten Jake Davis, ihm dabei zu helfen, die Songs zusammenzufügen, und entschied sich dafür, das Rauschen und Wackeln zu akzeptieren und ungewollt eine Platte zu machen, die diese Zeiten und die heutige Zeit widerspiegelt - unruhig, beschädigt, ehrlich. Eine Wippe aus Kampf und Überleben definiert diese Songs, eine Landkarte der Angst und des Glaubens und der Pfade, die sie verbinden. "Dies ist eine Platte über Geisteskrankheiten", wird Tyler ohne Scham sagen, so offen im Leben und in der Sprache, wie er es auf den Aufnahmen ist. "Es ist Musik darüber, den Verstand zu verlieren, aber nicht zu wollen, über den Versuch, zurückzukommen." Das braucht er nicht zu sagen; man spürt es, erkennt es vielleicht aus eigener Erfahrung. Tylers Alben sind ein Nest aus nicht-musikalischen Einflüssen, denn er pendelt zwischen Spiritualität und Philosophie und beschwört die Landschaften der amerikanischen Vorstellungskraft. "Time Indefinite" ist nicht anders, vor allem in der Art und Weise, wie es die sehr persönlichen Filme von Ross McElwee beschwört. Mitte der 80er Jahre begann er, einen Film über Shermans Marsch durch den Süden zu drehen, der sich jedoch zu einer verworrenen Geschichte über Familie, Verlust und das, was wir tun, wenn unsere besten Instinkte sich den schlimmsten Dingen ergeben, die wir uns vorstellen können, entwickelte. Das Album ist eine Anspielung auf diese Idee, auf das unerbittliche Drängen der Zeit und unseren Platz in ihr, unter ihr und neben ihr. Es ist keine große Offenbarung, dass das Leben, das wir führen, die Arbeit prägt, die wir machen, ob wir das nun beabsichtigen oder nicht. In diesen Liedern kann man Tyler hören, wie er laut mit eingehenden Dämonen ringt: Sucht, mittleres Alter, Einsamkeit, Neurosen. Alle unsere Kämpfe sind unterschiedlich, aber wir sind uns darin einig, dass wir sie haben. Dies ist der Soundtrack, den Tyler geschaffen hat.
Nach wichtigen Stationen bei Silver Jews und Lambchop hat William Tyler eine Reihe von neugierigen Alben veröffentlicht, die seine ländliche Herkunft und seine Begeisterung für klassische Musik mit seiner Experimentierfreudigkeit und Feldaufnahmen verbinden. Seine produktive Enklave der Instrumentalmusik hat nicht nur neue Klänge hervorgebracht, sondern auch kritische neue Stimmen. Kein anderer amerikanischer Sologitarrist dieses Jahrhunderts hat diese fruchtbare Szene so beeinflusst wie er. Und auf dem brillanten, erfrischenden "Time Indefinite", Tylers erstem Soloalbum seit fünf Jahren, betritt er endlich den immer größer werdenden Raum, den er mit geschaffen hat. Die Gitarre ist der Ausgangspunkt für ein Album, das nicht nur Tyler, sondern auch die Möglichkeiten eines ganzen Bereichs neu überdenken lässt. Ein Strudel aus Lärm und Harmonie, Geistern und Träumen, Angst und Hoffnung - es ist nicht nur eine großartige Gitarrenplatte. Es ist ein atemberaubendes Album eines großen Gitarristen, ein Meisterwerk unserer kollektiv ängstlichen Zeit. Anfang 2020, als die Welt am Rande ungeahnter Unruhen stand, verließ Tyler LA und zog nach Nashville, wo er die meiste Zeit seines Lebens gelebt hatte. Der größte Teil seines Equipments und alle seine Platten blieben zurück, in Erwartung einer vermeintlich schnellen Rückkehr. Das war natürlich nicht der Fall. Während Tyler also mit den Depressionen, den Nerven und den Fragen dieser unendlich angespannten Zeit zu kämpfen hatte, begann er, Ideen mit seinem Telefon und einem Kassettendeck aufzunehmen, wobei er sich mit den Verzerrungen, die diese Geräte mit sich bringen, abfand. Tyler sprach mit Kieran Hebden darüber, eine gemeinsame Platte zu machen, und einige dieser Stücke fühlten sich wie Testfälle an. Als diese Zusammenarbeit in andere Richtungen ging, entdeckte Tyler andere Klänge. Er bat seinen langjährigen Freund, den Produzenten Jake Davis, ihm dabei zu helfen, die Songs zusammenzufügen, und entschied sich dafür, das Rauschen und Wackeln zu akzeptieren und ungewollt eine Platte zu machen, die diese Zeiten und die heutige Zeit widerspiegelt - unruhig, beschädigt, ehrlich. Eine Wippe aus Kampf und Überleben definiert diese Songs, eine Landkarte der Angst und des Glaubens und der Pfade, die sie verbinden. "Dies ist eine Platte über Geisteskrankheiten", wird Tyler ohne Scham sagen, so offen im Leben und in der Sprache, wie er es auf den Aufnahmen ist. "Es ist Musik darüber, den Verstand zu verlieren, aber nicht zu wollen, über den Versuch, zurückzukommen." Das braucht er nicht zu sagen; man spürt es, erkennt es vielleicht aus eigener Erfahrung. Tylers Alben sind ein Nest aus nicht-musikalischen Einflüssen, denn er pendelt zwischen Spiritualität und Philosophie und beschwört die Landschaften der amerikanischen Vorstellungskraft. "Time Indefinite" ist nicht anders, vor allem in der Art und Weise, wie es die sehr persönlichen Filme von Ross McElwee beschwört. Mitte der 80er Jahre begann er, einen Film über Shermans Marsch durch den Süden zu drehen, der sich jedoch zu einer verworrenen Geschichte über Familie, Verlust und das, was wir tun, wenn unsere besten Instinkte sich den schlimmsten Dingen ergeben, die wir uns vorstellen können, entwickelte. Das Album ist eine Anspielung auf diese Idee, auf das unerbittliche Drängen der Zeit und unseren Platz in ihr, unter ihr und neben ihr. Es ist keine große Offenbarung, dass das Leben, das wir führen, die Arbeit prägt, die wir machen, ob wir das nun beabsichtigen oder nicht. In diesen Liedern kann man Tyler hören, wie er laut mit eingehenden Dämonen ringt: Sucht, mittleres Alter, Einsamkeit, Neurosen. Alle unsere Kämpfe sind unterschiedlich, aber wir sind uns darin einig, dass wir sie haben. Dies ist der Soundtrack, den Tyler geschaffen hat.
Die Modern Folk-Künstlerin Jensen McRae hat das Veröffentlichungsdatum ihres mit Spannung erwarteten zweiten Albums „I Don't Know How But They Found Me!“ bekannt gegeben, das am 25. April über Dead Oceans erscheinen wird. Zusammen mit der Ankündigung hat sie auch ihre neueste Single und das Video „Praying For Your Downfall“ veröffentlicht, ein Meisterwerk der Offenheit, das Witz und Charme verbindet, während McRae darüber nachdenkt, wie sie den Drang nach Rache an jemandem, der ihr das Herz gebrochen hat, loslassen kann.
Jensen McRae - Praying For Your Downfall (Official Video)
Vor dem Hintergrund von Herzschmerz, Selbstfindung und der Komplexität der Liebe ist „I Don't Know How But They Found Me!“ eine mutige Entwicklung für die junge Künstlerin. Das elf Titel umfassende Album, das in North Carolina mit Brad Cook (Waxahatchee, Bon Iver) aufgenommen wurde und an dem Nathan Stocker (Hippo Campus), Matthew McCaughan (Bon Iver) und ihr Bruder Holden McRae mitgewirkt haben, ist eine lebendige Sammlung von Songs, die von messerscharfen Texten und zeitlosen Pop-Melodien getragen werden. McRaes Stimme ist so vielseitig wie ihr Songwriting - mal flüsternd und strukturiert, dann wieder klar und hell. Es ist eine Stimme, die sowohl den Herzschmerz des Verlassenwerdens als auch die Stärke des Verlassens verkörpert.
Von Anfang an haben sich die Fans in Jensen McRae verliebt, für ihre scharfsinnigen, aufrüttelnden und klarsichtigen Songs. Ihr Songwriting ist verletzlich, ja, aber es ist auch stark, weil es sich nicht zurückhält. „I Don't Know How But They Found Me!“ zeigt McRaes Entwicklung von einer vielversprechenden jungen Künstlerin zu einer echten Songwriterin und Star. „Die tiefgreifendsten Entscheidungen meines Lebens“, sagt McRae, “haben sich oft wie Dinge angefühlt, die ich getan habe, bevor ich dazu bereit war, und in die ich hineinwachsen musste.“ „I Don't Know How But They Found Me!“ handelt davon, was folgt, wenn man dem widerstanden hat, von dem man dachte, dass es einen vernichten würde. Es geht darum, seine Grenzen kennenzulernen und zu erfahren, wozu man fähig ist. „Ich verband mich mit dem Gedanken, dass ich leicht unter dem Gewicht dessen, was mir widerfahren ist, hätte zusammenbrechen können, aber ich tat es nicht. Ich wusste es nicht einmal“, sagt sie, ‚aber ich war die ganze Zeit kugelsicher“. Jensen McRae ist in L.A. geboren und aufgewachsen und hat fast ihr ganzes Leben lang Musik studiert und gemacht. In der High School nahm sie am Grammy Camp teil und schloss ihr Studium an der USC Thornton School of Music mit einem Abschluss in Popular Music ab. McRaes Debütalbum „Are You Happy Now?“ schrieb sie größtenteils im Alter von 21 Jahren und war der erste Schritt zum Aufbau einer treuen Fangemeinde. „Are You Happy Now?“ navigiert die Identität von ihren tiefsten Grundlagen - dem Leben als junge, gemischtrassige schwarze und jüdische Frau - bis hin zu ihren persönlichsten Überlegungen - vertraue ich dir, vertraue ich mir selbst. McRaes Vertrauen in sich selbst hat sich mehrfach bestätigt, zuletzt und vielleicht am bekanntesten in Form des Songs „Massachusetts“. McRae postete eine Solo-Strophe und einen Refrain, kaum mehr als ein Stück eines Demos, und es fing Feuer im Internet. Covers, Duette und eine Lawine neuer Fans folgten, und McRae krönte den Moment mit einer fertigen Version und einer sommerlangen Tournee als Support von Noah Kahan. „I Don't Know How But They Found Me!“ nimmt McRaes mittlerweile beachtliche Fähigkeiten auf und macht sie massentauglich. „Savannah“ ist ein Song für alle, die schon lange dabei sind. Der pulsierende, an Country angelehnte Song erinnert sofort an das Beste von Phoebe Bridgers, wobei McRae in einem akrobatischen Flüsterton über einer federleichten akustischen Gitarre singt. Wenn „Savannah“ sein Crescendo erreicht, wird klar, dass McRae eine Künstlerin mit einer ganz eigenen Kraft ist, wenn sich Klavier und Gitarre überlagern und McRae eine Reihe bissiger Anklagen mit Schärfe und Überzeugung vorträgt: "You swore you'd raise our kids to end up just like you / well you're a false prophet / and that's a goddamn promise." Währenddessen ist „Let Me Be Wrong“ eine echte Hymne, eine beschwingte Ode an die Ablehnung von Perfektionismus. Wiederum auf einem einfachen Gesang und einer Akustikgitarre aufbauend, steigert sich „Let Me Be Wrong“ Schritt für Schritt in seinem Trotz; die Gitarren schichten sich, das Schlagzeug nimmt das Tempo auf, und McRae macht Platz für die Fehler aller. Wenn McRae knurrt „fuck those girls got everything“, ist das ein Schlag voller Kraft und Verletzlichkeit, der darum bettelt, unisono so laut wie möglich gebrüllt zu werden. Der ungewöhnliche Titel ihres zweiten Albums? Er stammt aus einer Zeile in McRaes Lieblingsfilm „Zurück in die Zukunft“. Ein Hauptdarsteller überlebt einen Kugelhagel, und dieses Bild hat McRae sehr beeindruckt. „Ich habe mich mit dem Gedanken angefreundet, dass ich leicht unter dem Gewicht dessen, was mir passiert ist, hätte zusammenbrechen können, aber das habe ich nicht. Ich wusste es nicht einmal“, sagt McRae, “aber ich war die ganze Zeit über kugelsicher.“
"The album was created in this back and forth of snapshots - we made most of the decisions impulsively without much questioning. That takes a lot of trust." — Violeta García & Hora Lunga
"I'll Wait For You In The Car Park", the first full length collaboration between Argentinian cellist, improviser and composer Violeta García and Swiss musician and composer Hora Lunga, is a work of extremes. Drawing from the realities of life on two continents, and embodying moods ranging from stoic desire to violent bursts, the album enciphers so-called ordinary moments from everyday life into an alluring collection of musical scenes. Seemingly inconspicuous moments are condensed into a tale of synchronicity: colliding time zones and seasons, metropolitan rhythms raining down onto a glacier's ice field, exploring places through street view, the serendipity of loitering at a kiosk. As such, "I'll Wait For You In The Car Park" brings documentary film essays to mind that carefully observe the private and everyday occurrences.
Violeta García and Hora Lunga crossed paths by chance in 2023 and began discussing and sharing music shortly afterwards. What started as a loose exchange of ideas, sending back and forth sketches and demos between South America and Europe, grew into several studio sessions in 2024. Being sucked into a "quite extraordinary flow", the two musicians recorded, arranged and intervened on a level playing field, using the studio as a playground to record musical layers and interweave them with field recordings and audio notes gathered over the course of a year. Speaking a kindred musical language, they quickly realized how their ideas clung to each other like two familiar souls, complementing, intertwining and merging. From gauzy and eerie textures, musical miniatures floating through time, howling and screaming strings, to tumbling and thundering basses – the sound of the ordinary shapes a body that vibrates, writhes and breathes.
Violeta García is a cellist, improviser and composer from Buenos Aires, Argentina. Based in Spain, she tours a lot with her band Blanco Teta. She is a performer in many art forms, including free improvisation, contemporary and trans-media experimental repertoire in violoncello and electronics and collaborations with dancers, film makers and visual artists. After years of studying classical and popular music on violoncello and, later, contemporary composition and improvisation, Violeta has developed her own musical voice needed to emerge beyond outside specific genres.
Throughout Swiss composer and musician Hora Lunga's work, the focus lies is on exploring boundaries, both musically and in terms of performance and content. Above all, genre designations lose all meaning, as the music always takes place within a dramaturgically conceived overall framework. In recent years, his projects have ranged from pop music productions to experimental works and sound performances, as well astheatre and film productions. His ensemble WIRREN consists of up to fifteen performers.
Hermon Mehari and Tony Tixier first met in 2010, in their early twenties, in a club on Paris's Rue des Lombards for a concert with saxophonist Rodolphe Lauretta. Over the next decade, the two musicians took opposite paths, while continuing to collaborate on two continents. The American trumpeter moved to France to discover European culture and the world cultures that coexist there, while the Parisian pianist of Martinican origin spent several years in the USA, immersing himself in the roots of jazz and Afro-American music.
In June 2024, the two musicians, who had been working for fifteen years on numerous albums and collaborations, and whose musical understanding had continued to be forged in clubs, festivals, and on recordings, met again for a duet at the TOC-TOC festival in the Puisaye region, where Antoine Rajon was a collaborator. Enthusiastic about the idea, the artistic director of the KOMOS label invited them back to his home in this corner of Burgundy to record this Fender Rhodes/trumpet formula. He called on sound engineer Christian Hierro, who traveled with his mobile studio for the album recording, then mixed and produced the master in his studio in Lyon, using the best analog equipment and his expert ear.
At dusk on November 12, 2024, the duo played eight tracks in a single, direct take on a 33-minute magnetic tape.
Four unusual cover versions were carefully chosen. "Maimoun" is a composition emblematic of pianist Stanley Cowell's style, also recorded by Marion Brown. George Duke's "The Black Messiah" was captured live by Cannonball Adderley's band on an album of the same name but has never been released as a studio version. "Hello To The Wind" was created by Bobby Hutcherson in 1969, sung by Eugene McDaniels. Finally, "Laini," dedicated by the great Martinican pianist Marius Cultier to one of his daughters, is a mazurka dear to Tony's heart.
Each of the musicians also contributed a composition: Hermon with "This Is Our Fantasy," written especially for the session, and Tony with "Poem For The Oppressed," a moving composition with an explicit title. Lastly, the duo improvised two tracks, without repetition, in mutual symbiosis and echo.
SOUL SONG captures a moment without enhancement, transformation, or additives, far removed from contemporary virtual technologies.
Fly Anakin is a rapper and producer who approaches his craft in a way few contemporaries can. Vigilant yet unorthodox, DIY-minded yet prolific, the Richmond, Virginia multihyphenate’s razor-sharp lyrics, ear for soulful production, and collaborative synergy are the result of over a decade of fundamental mastery. Described by Madlib as “one of the illest MCs,” the Mutant Academy cofounder was in his pocket well ahead of his acclaimed solo debut, Frank (2022). After years of consistent releases with his collective, Anakin broke major ground in 2020 with his and Pink Siifu’s joint project FlySiifu’s, followed by their $mokebreak EP in 2021. A student of the East Coast’s golden age, Anakin transmutes its spirit into music that’s both classicist and pioneering, having worked with the likes of Freddie Gibbs, redveil, BbyMutha, and MAVI. With the release of a Mutant Academy debut album completed, and his solo album (The) Forever Dream imminent, Anakin has cemented his place as a leader in rap’s underground Renaissance.(The) Forever Dream commemorates a new era of freedom for Anakin, who rarely approaches bodies of work without a preconceived concept. Executive produced by Quelle Chris, the project, which features the likes of Denmark Vessey, The Alchemist, BbyMutha, and Pink Siifu, includes songs that Anakin believes are some of his most experimental and ambitious. “The album is me and Quelle kicking it, smoking, learning each other, and playing video games,” he says of the project’s inspiration and recording process. “It was time to make some mindless music, to tackle production I would’ve otherwise picked up.” The long anticipated project comes after years of Anakin and Quelle developing a strong rapport, stemming back to 2019. “Quelle is one of the best collaborators ever—he’s not biased but he knows what he likes, open minded but stubborn at the right times,” Anakin says of his collaborative relationship with the Grammy nominated producer. “On the low we just alike but polar opposites, we can do no wrong together.”
Fly Anakin is a rapper and producer who approaches his craft in a way few contemporaries can. Vigilant yet unorthodox, DIY-minded yet prolific, the Richmond, Virginia multihyphenate’s razor-sharp lyrics, ear for soulful production, and collaborative synergy are the result of over a decade of fundamental mastery. Described by Madlib as “one of the illest MCs,” the Mutant Academy cofounder was in his pocket well ahead of his acclaimed solo debut, Frank (2022). After years of consistent releases with his collective, Anakin broke major ground in 2020 with his and Pink Siifu’s joint project FlySiifu’s, followed by their $mokebreak EP in 2021. A student of the East Coast’s golden age, Anakin transmutes its spirit into music that’s both classicist and pioneering, having worked with the likes of Freddie Gibbs, redveil, BbyMutha, and MAVI. With the release of a Mutant Academy debut album completed, and his solo album (The) Forever Dream imminent, Anakin has cemented his place as a leader in rap’s underground Renaissance.(The) Forever Dream commemorates a new era of freedom for Anakin, who rarely approaches bodies of work without a preconceived concept. Executive produced by Quelle Chris, the project, which features the likes of Denmark Vessey, The Alchemist, BbyMutha, and Pink Siifu, includes songs that Anakin believes are some of his most experimental and ambitious. “The album is me and Quelle kicking it, smoking, learning each other, and playing video games,” he says of the project’s inspiration and recording process. “It was time to make some mindless music, to tackle production I would’ve otherwise picked up.” The long anticipated project comes after years of Anakin and Quelle developing a strong rapport, stemming back to 2019. “Quelle is one of the best collaborators ever—he’s not biased but he knows what he likes, open minded but stubborn at the right times,” Anakin says of his collaborative relationship with the Grammy nominated producer. “On the low we just alike but polar opposites, we can do no wrong together.”
Einst waren Rialto unverletzlich ("Untouchable"), sind aber bereits Ende der 90er erst morgens nach fünf heimgekommen ("Monday Morning 5.19"), nun kündigen die britischen Kult-Britpopper ihr erstes neues Album seit 24 Jahren an: "Neon & Ghost Signs" wird im April 2025 über Fierce Panda Records veröffentlicht. Es ist eine Reunion, die nicht so sehr von der Sehnsucht nach der Vergangenheit angetrieben wird, sondern vielmehr von der Dringlichkeit, das Beste aus dem Jetzt zu genießen. Vor sechs Jahren wurde Sänger und Songschreiber Louis Eliot während eines Spanienurlaubs für eine Notoperation ins Krankenhaus gebracht und ist dabei kurz dem Tode nah gewesen. Seine vollständige Genesung war eine Epiphanie. "Man könnte meinen, wenn man dem Tod sehr nahe ist, sollte man anfangen, sich um sich selbst zu kümmern", sagt er. ,Aber ich bin einfach mit Vollgas meiner Jugend hinterhergejagt. Ich dachte mir nur: Egal, vielleicht bin ich nächste Woche nicht mehr da, ich stürze mich einfach rein." Ein Teil von Eliots Wiedergeburt bestand darin, dass er eine langjährige Beziehung hinter sich ließ, um erneut in die Londoner Club-Szene einzutauchen. Ein bedeutender Teil davon waren die Romantik und die Verwundbarkeit, die er dort fand. Ein anderer Teil davon war die Erkenntnis, dass die Songs, die in dieser Zeit entstanden - Lieder über Liebe und Verlust, Hedonismus und Reue, die in wehmütigen Geisterstunden spielen - ein Ruf aus der (eigenen) Vergangenheit waren. Neon and Ghost Signs eröffnet in gewollt simpler und eingängiger Dancefloor-Ästhetik mit der ersten Single "No One Leaves This Discoteque Alive". Eliot, mit einem lasziven Brel-Knurren, vergießt Tränen in der Discotheque, ist "der Hund der Londoner Stadt", wo "die Laken mit Gold befleckt sind", der darauf aus ist, "seinen Kopf zu verlieren" und Liebe als perfekten Sturm zu erleben. Es ist der Auftakt zu einem "Durch die Nacht mit...", den das gesamte Album mit der von Rialto bekannten Widescreen-Pop Leidenschaft verfolgt. Rialto waren in Südostasien Superstars mit Doppel-Platin und in Großbritannien immer ein hochgelobter Kult, aber zweifellos eine Band, die ihrer ästhetischen Zeit voraus war. Nach dem zweiten Album Night on Earth im Jahr 2001 löste sich die Band auf und Eliot arbeitete regelmäßig mit Grace Jones und Danny Goffey von Supergrass zusammen; als Songwriter schrieb er u. a. das mit dem Ivor Novello ausgezeichnete "Leave Right Now" für Will Young; er veröffentlichte 2004 ein Soloalbum und 2010 eine sehr ländlich klingende Platte als Louis Eliot And The Embers und veranstaltet das Port Eliot Festival in Cornwall mit 8.000 Besuchern. Als col. LP, CD oder MC!
Einst waren Rialto unverletzlich ("Untouchable"), sind aber bereits Ende der 90er erst morgens nach fünf heimgekommen ("Monday Morning 5.19"), nun kündigen die britischen Kult-Britpopper ihr erstes neues Album seit 24 Jahren an: "Neon & Ghost Signs" wird im April 2025 über Fierce Panda Records veröffentlicht. Es ist eine Reunion, die nicht so sehr von der Sehnsucht nach der Vergangenheit angetrieben wird, sondern vielmehr von der Dringlichkeit, das Beste aus dem Jetzt zu genießen. Vor sechs Jahren wurde Sänger und Songschreiber Louis Eliot während eines Spanienurlaubs für eine Notoperation ins Krankenhaus gebracht und ist dabei kurz dem Tode nah gewesen. Seine vollständige Genesung war eine Epiphanie. "Man könnte meinen, wenn man dem Tod sehr nahe ist, sollte man anfangen, sich um sich selbst zu kümmern", sagt er. ,Aber ich bin einfach mit Vollgas meiner Jugend hinterhergejagt. Ich dachte mir nur: Egal, vielleicht bin ich nächste Woche nicht mehr da, ich stürze mich einfach rein." Ein Teil von Eliots Wiedergeburt bestand darin, dass er eine langjährige Beziehung hinter sich ließ, um erneut in die Londoner Club-Szene einzutauchen. Ein bedeutender Teil davon waren die Romantik und die Verwundbarkeit, die er dort fand. Ein anderer Teil davon war die Erkenntnis, dass die Songs, die in dieser Zeit entstanden - Lieder über Liebe und Verlust, Hedonismus und Reue, die in wehmütigen Geisterstunden spielen - ein Ruf aus der (eigenen) Vergangenheit waren. Neon and Ghost Signs eröffnet in gewollt simpeler und eingängiger Dancefloor-Ästhetik mit der ersten Single "No One Leaves This Discoteque Alive". Eliot, mit einem lasziven Brel-Knurren, vergießt Tränen in der Discotheque, ist "der Hund der Londoner Stadt", wo "die Laken mit Gold befleckt sind", der darauf aus ist, "seinen Kopf zu verlieren" und Liebe als perfekten Sturm zu erleben. Es ist der Auftakt zu einem "Durch die Nacht mit...", den das gesamte Album mit der von Rialto bekannten Widescreen-Pop Leidenschaft verfolgt. Rialto waren in Südostasien Superstars mit Doppel-Platin und in Großbritannien immer ein hochgelobter Kult, aber zweifellos eine Band, die ihrer ästhetischen Zeit voraus war. Nach dem zweiten Album Night on Earth im Jahr 2001 löste sich die Band auf und Eliot arbeitete regelmäßig mit Grace Jones und Danny Goffey von Supergrass zusammen; als Songwriter schrieb er u. a. das mit dem Ivor Novello ausgezeichnete "Leave Right Now" für Will Young; er veröffentlichte 2004 ein Soloalbum und 2010 eine sehr ländlich klingende Platte als Louis Eliot And The Embers und veranstaltet das Port Eliot Festival in Cornwall mit 8.000 Besuchern. Als col. LP, CD oder MC!
Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.
This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.
It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.
Als Künstlerin, Sängerin, Songwriterin und Gitarristin hat Samantha Fish zahlreiche Auszeichnungen für
ihren einzigartigen Selbstausdruck erhalten (u. a. mehrere Blues Music Awards und eine GRAMMYNominierung), den sie durch explosive Riffs, eindringliche Rhythmen und mitreißenden Gesang vermittelt.
Ihr Talent wurde von keinem Geringeren als Eric Clapton erkannt, der sie einlud, bei seinem Crossroads
2023 in Los Angeles aufzutreten. Sie ist eine Festival-Headlinerin, die das Cover von Gitarrenmagazinen
ziert und international vor ausverkauften Häusern tourt. Fish beherrscht ihre kathartischen Shows mit ihrer
kantigen Stimme und ihrer unverblümten Slide-Gitarre.
Für ihr neues Album Paper Doll hat sich Fish mit dem legendären Produzenten Bobby Harlow zusammengetan. Mit der Hilfe der Co-Autoren Kate Pearlman, Jim McCormick, Anders Osborne und Harlow
hat sie ihre bisher stärksten Songs geschrieben. Ihre eklektische Sensibilität wurde in eine Reihe von Songs
kanalisiert, die sowohl emotional stark als auch wild entflammbar sind und dazu beitragen, ihre langjährige
Mission zu erfüllen, das Blues-Genre für ein völlig neues Publikum zu öffnen.
Die Musik von Prima Queen ist offen, mitreissend, charismatisch und eine Welt für sich. Wenn man sich ihr grossartiges Debütalbum "The Prize" auf Submarine Cat anhört, möchte man in all seinen überschwänglichen, einfühlsamen Melodien eintauchen und in der Wärme der beneidenswerten Verbindung zwischen den beiden Musikerinnen baden, die den Kern der Platte bildet. Die 12 Songs von Louise Macphail und Kristin McFadden greifen auf das schillernde Pop-Gefühl von HAIM und Jenny Lewis zurück und sind von der Offenheit des Geistes geprägt. Sie sind von der Euphorie inspiriert, die Prima Queen im vergangenen Jahr auf der Bühne erlebte, als sie mit Olivia Dean, Dream Wife und Swim Deep tourten. Die beiden Frauen etablieren sich als scharfsinnige, erfrischend offene Songwriterinnen, die übergrosse Gefühle mit Anmut und Witz zum Ausdruck bringen.
BEATALISTICS, the soulful South-German Drum & Bass label, run by Enea and MC Fava, is celebrating its 100th release. ONEHUNDRED reflects on almost one and a half decades of label back catalogue with a 29 tunes strong 'best of' various artists digital compilation. Included are also 6 brand new tunes which are packed on a vinyl sampler In addition. Featured is orchestral DnB pioneer KEENO who puts his magic hands of 'Sarah', taken off FAVA's Destiny EP with Smote & Becca Jane Grey and rounds up the meaningful song with his cinematic trademark sound . FAVA also adds some decent chants to COMMAND STRANGE'S 'Kindness Flow, a positive and uplifting liquid roller that is going to make your soul smile for sure. Long time label friend PAUL SG, head honcho of the brilliant soul driven Austrian imprint Jazzsticks delivers one of his signature amen break soul-rollers with 'Pale White Boy'. Label boss ENEA can't be missed on here and literally delivers the 'Heat' with his contribution. Beatalistics sticks to the label philosophy and supports local talents and important label representatives DAVA and MOJOMAN.'Pictures' delivers dancefloor vibes with a deep bassline and strong vocal arrangement and proves that Dava is one to watch out for in the near future. MOJOMAN maintains a desire to dance with the hypnotizing 'Pillers of Nah', following his unmistakably melodic and hymnal style.
out of Stock
Last delivered 16 months ago available to reorder, subject to availability
Whether Re-defining Experimental Fusion Sounds With The Hugley Acclaimed Yussef Kamaal, Or His Catalogue Of 12's For Imprints Such As Mcde, Eglo, And Rhythm Section As Henry Wu, South London's Kamaal Williams Has Been A Key Figure In His Thriving International Scene For The Past Few Years. The Return Is A Natural Evolution From The Yussef Kamaal Project, Mining The Influence Of Visionary Jazz But Blended With All Kinds Of Texture, Sounds And Signals From The Over-saturated London Streets.
At Times The Keyboard Work Evokes The Classic 70s Fusion Work Of Lonnie Liston Smith Or Roy Ayers, But Underpinned By Rhythms More Reminiscent Of Blunted Hip-hop And Arrangements Subliminally Laced With The Cut-ups Of Pirate Radio. Progressive, Funky, Cosmic, Exploratory And Effortlessly Musical, This Is The Sound Of A Musician Honing Their Craft Into Thrilling New Shapes.
In The Us The Like Of Kamasi Washington And Thundercat Have Made Great Strides In Opening A Whole New Dialogue Between Jazz And Hip-hop, Drawing In A Young, Highly Engaged New Audience In The Process. Kamaal Williams Mine A Similar Seam On The Other Side Of The Atlantic Alongside Other Exciting London Talents Such As Ezra Collective, Ruby Rushton And Shabaka Hutchings.
The Return Is Exactly That: A Return And Refinement To The Sound Yussef Kamaal Were Progenitors Of, And First Set The Scene For One Of The Most Exciting Musical Movements London Has Had In Years.
Notable Tracks For Old And New Listeners Are 'slow', 'situations', 'medina', 'london Shuffle' Which Features Mansur Brown (of Mansur's Message) And For Those Die Hard Yussef Kamaal Fans - They Should Hear The Interpolated Roots Of 'strings Of Light' In The Title Track 'the Return'. And That Signature Wu Funk Can Be Heard On Broken Theme, And High Roller.
The Return Will Be The Debut Album Released On Wu's New Label Black Focus Records.
Running Back is delighted to introduce RB Studio Sessions, a new sub-imprint of music envisioned, recorded and fully realised at Running Back’s in-house studio.
Built on the promise of unfettered creative freedom and aided by agreeable local autobahn connections in the Hesse region, the RB Studio Sessions project is christened with the work of Running Back’s founder, chief dreamer, and Geschäftsführer, Gerd Janson.
For this debut edition, he is joined for a momentous jam by the new-school hero of the house, good friend and kindred spirit, Narciss.
Just as Running Back’s earliest releases dropped a stylus to preserve timeless ideals of club culture, the four tracks on ‘No Maze Like Heaven’ further this continuum by turning back the sonic clock just a decade or so. Picture, if you will, a nascent Narciss, youthfully club
hopping and deeply inspired by the selections of Gerd himself, alongside a selection of DJs coaxing the Panorama Bar blinds open with exquisite, mid-tempo precision.
As such, new light immediately floods in for ‘Chicco’s Chips’, which captures many of those irresistible elements—Italo-tinted synths, hooky vocals, and perfect percussion— regenerated with the wide-eyed, high energy of Narciss’s own solo productions. ‘Elka,
meanwhile, is a richer, deeper dish, masterfully interlocking multiple heavenly melodies under layers of optimistic analogue fuzz.
Narciss and Gerd then look to the Netherlands for further collaboration with one of electronic music’s best-loved vocalists and another fine producer, Coloray, who fills ‘Look For You’ with a yearning performance in the vulnerable, synth-pop tradition. Finally, ‘No
Maze Like Heaven’ builds on this mood and melody for a finale that hits the sweet spot between machine power and oh-so-human emotion.
Featuring labyrinthian artwork from the mighty Gasius., via a sleeve that appears to blend M.C. Escher with MC Hammer, ‘No Maze Like Heaven’ proves to be a divine foundation of RB Studio Sessions. For Narciss, “a memory they will cherish forever.”
For Gerd, a taxdeductible working lunch. For DJs and dancers? Four ebullient hits-in-waiting, sounding great and meaning more.
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
For their second album 'The Foel Tower', Quade holed up in an old stone barn in the cradle of a Welsh mountain valley.
The valley was a stark and windswept backdrop with little daylight, as the band would huddle around crackling fires each evening. “There was very much a feeling of being on the complete fringes of society,” the band says. “The last vestiges of settlement before the unrelenting barren moors that loomed over us.”
It was an environment that would shape the band – a Bristol four piece made up of Barney Matthews, Leo Fini, Matt Griffiths and Tom Connolly – and the record they have made. It’s an album that is as dreamy as it is melancholic, and as quiet and tender as it is forceful and potent – gliding across genres like winds blowing over those wide-spanning Welsh hills – to arrive at something the band half-jokingly, yet somewhat accurately, describe as “doomer sad boy, ambient-dub, folk, experimental post-rock.”
Quade is a band but it’s also a very close-knit group that have been friends since childhood who use this musical vehicle for interpersonal explorations and connections. “We’ve individually experienced a lot of difficulty over the last several years and Quade has represented a space to shelter from these,” the band says. “This means we often communicate extensively with each other about the issues affecting us individually and collectively. These conversations and concerns are central to The Foel Tower.”
In many ways, the making of this record – or any Quade record – goes way deeper than the simple writing, construction and recording of music. It is a profoundly deep and meaningful experience. “A key theme of the album relates to why we connect with specific places in the way that we do,” the group says. “We often remove ourselves to isolated valleys, sheltered from some of the painful personal struggles that we have experienced as a band. These become spaces in which we collectively purge ourselves of some of these difficulties hoping to make Quade a physical and emotional place of solace. This album celebrates these places that we’ve been able to retreat to and recuperate.”
It is a deep, dense record that is stuffed with musical, cinematic and literary influences – from Ursula La Guin and Cormac MacCarthy through to RS Thomas and Yeats – but despite the heavy, introspective and anxious nature of some of the material, it is also a record that is remarkably deft, agile and considered.
Made with producer Jack Ogborne and mixer Larry ‘Bruce’ McCarthy, there is a pleasing duality to the final sound of the record. One that feels fragile and intimate but also powerful and forceful, as introspective as it is expansive, and a record that is as detailed and textured as it is wide open and spacious.
The album title also pays homage to the place that shaped it so greatly. Within this remote Welsh valley stands the Foel Tower, a stone structure filled with valves and cylinders that can raise and lower the level of the reservoir to draw off water. Which it can then send as far as 70 miles to Birmingham. However, in the late 1800s this land was occupied by local farmers and families in the hundreds until the British Government acquired the land, cleared the valleys, and promptly displaced them in order to begin serving the vastly expanding industrial English city. The band dug into the history and politics of this and wove it into the themes they were already thinking about, using what the Foel Tower stands for as something of a contemporary metaphor. “This tension was something that we wanted to explore without the haughty judgement of our more metropolitan lifestyles,” they say. “And to explore how this specifically relates to ourselves: how can we envisage a genuinely ecological future for ourselves – one that is accessible, affordable and in harmony with endangered rural practices.”
What makes The Foel Tower such an incredible record is that it feels born of a time, place and situation that only existed in that very moment. It’s a snapshot of those 10 days spent in rural Wales and all the feelings and anxieties the band were experiencing at that specific time, magically caught on tape. “The album very much feels tied to this valley for us and the conversations and experiences we shared there,” they say. “It brings up a great deal of poignancy for us, an emblem of some fleeting respite from the strains we all have to experience. But there’s also deep sadness knowing how transient these moments are – in fact, there’s just a great deal of sadness in this album. But it’s also a record that while personal, resigned, and emotionally burdened, is ultimately hopeful.”
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
“Trustworthy”. is the meaning of “danama”, this Bambara word from Mali. Believing in oneself, in others, in the word given, in desirable futures. Advocating optimism, momentum towards the future, collective strength and the wise magic of cultural blending… especially during these troubled times of endless wars, of nationalist withdrawals or the abundance of naturals disasters, all encouraged by a carnivorous capitalism?
So confidence, we need tons of it. Maintained by the flame, the phlegm and the stratagem of these afro-groove scientists, without ignoring their sorrows nor the scandals of History. This is the athletic art of Arat Kilo, who remain without question the best ethio-jazz orchestra in France, on the trail of this fifth album recorded in the Spring of 2024. Confidence was also needed to change the way things worked. For all the previous albums, the band came together in the studio to play each track together, all in the same room, in the romantic idea of a warm, lively, organic gesture, in the manner of the great Ethiopian masters of the 60s and 70s.
For Danama, the music was initially collected in tandem: guitar/bass, drums/percussion, saxophone/trumpet, and the two voices. A few new instruments were added along the way : dark synthesizers, a bass clarinet, a tiny guitalélé (similar to the ukulele) and a Malian n'goni (sometimes described as ‘the griot's lute’). Then, and above all, there was the question of experimenting with real sound production, using sound design, multi-track exploration and effects applied to the textures collected over eight days at the Gong studios in Montreuil and OneTwoPassIt in Bagnolet just outside Paris.
In this way the band, all growing up influenced by the hip French Radio Nova's ‘Grand Mix’, were completely free to express their natural taste for fusion between genres. Borrowing from the frantic rhythms of Newark's jersey club, English 2-step or New Orleans brass bands, grafted onto Arat Kilo's musical base: tezeta, the famous minor pentatonic scale typical of Ethiopian jazz, melancholic to perfection. The result is layers of sound, collages of emotions, like the album cover, created by artist Clément Laurentin from multicoloured fragments of posters torn up in the street.
So Arat Kilo are back: The same band, the same collective strength, the same fight for values, their new album “Danama” carries the demand for a better world even further, with words of hope from singer Mamani Keita and the social critique of American MC and poet Mike Ladd ! The result is this luminous voyage down the Danama canal. In all, eleven songs and an instrumental, mixed by Mathieu ‘Gib’ Gibert - one of French band La Fine Équipe's beatmakers - set to drive the crowds wild and remind us how to stick together again.
Nach den beiden limitierten 12inches erscheint das neue Album des britischen DJ/Produzenten Pangaea (aka Kevin McAuley), sein erstes seit der gefeierten Debüt-LP In Drum Play (2016), nun als kompakte Doppel-LP, inklusive dem aktuellen Clubit 'Installation' als Opener. Pangaeas neue Tracks sind galoppierend, ansteckend und hypnotisch und fangen seine Fähigkeit ein, Banger mit einer experimentellen Neigung zu konstruieren, ohne auf Wirkung zu verzichten. Ihr Fokus auf den Dancefloor ist dringend, nachdrücklich und von einer unbestreitbaren Präzision. Die beeindruckenden, unaufhaltsamen Grooves glänzen wie Marmor auf Beton: glatt und doch rau, attraktiv und doch aggressiv. Wie ein Zwielicht mitten in der Nacht, mit mysteriösen Elementen, die sich nicht als Bedrohung anfühlen, versprüht die Musik eine Wärme, die die Dunkelheit durchdringt.
out of Stock
Last delivered 13 months ago available to reorder, subject to availability
For Fans Of The Indie/Americana, Punk ‘N’ Roll, Streetwalkin’ Cheetahs, Fear, Supersuckers, Tom Petty, MC5. Living Between the Lines is the debut solo LP from Frank Meyer. A long time coming, Meyer’s been hinting at it for a while now with Bandcamp exclusive tracks, covers on tribute albums, acoustic solo shows, and his acclaimed collaboration album with Eddie Spaghetti of the Supersuckers. Like the Eddie collab, LBTL is out on Kitten Robot Records. The 11-song album adds touches of blues and soul to Meyer’s expected high-energy rock ‘n’ roll, revealing a more mature voice. He is joined for duets by longtime friend and collaborator Lisa Kekaula of the Bellrays on the title track, Runaways icon Cherie Currie on “Piece of Me” and Spaghetti himself on “Partners In Crime.” An award-winning musician, filmmaker and author, Meyer has a track record that covers rock ‘n’ roll, punk, heavy metal, blues, and country. Known for his work with everyone from Rock ‘n’ Roll Hall of Famers James Williamson (Iggy & the Stooges) and Wayne Kramer (MC5) to legendary punk act FEAR, Meyer has carved out a career full of unlikely collaborations, hard work, searing guitar playing, and ace songwriting skills. “I have rarely seen the public leave so enthusiastic by the pure rock ‘n’ roll download that they had just witnessed. Frank Meyer is an incomparable frontman who lives rock ‘n’ roll 24/7 and always gives his all!” Popular 1 Magazine.
What happens when Bristol's noisiest export BENZO QUEEN decides to fight themselves? You get this split record - a double-headed beast of post-hardcore fury and experimental noise. Side A delivers "NO GODS NO MASTERS NO SLEEVES" - BENZO QUEEN's sophomore album captured raw and bleeding after months of destroying stages with Mclusky and Whores. Twelve tracks of controlled chaos recorded live on New Year's Eve in Bristol - because why not start the year by breaking something? Side B introduces BENZO AND THE QUEENS - this iteration emerged like a bad rash at Bristol's annual Dean Lane Hardcore Funday. Nobody asked for more, so naturally they recorded an EP. Think of it as BENZO QUEEN's evil twin, if evil twins were actually more evil than their evil siblings.
By the mid-1970s, trumpeter Dennis Mpale was a consummate musician with an auspicious resume that located him at all the key turning points in the evolution of modern South African jazz. In his mid-20s, he led the trumpet section of Chris McGregor’s Castle Lager Big Band and participated in the ensemble’s landmark 1963 album Jazz/The African Sound. 1968 saw him recording I Remember Nick with The Soul Giants, which joined a wave of notable late-1960s releases, including The Mankunku Quartet’s Yakhal' Inkomo and The Chris Schilder Quintet’s Spring, that ignited the ambitions of South African jazz artists and producers in the 1970s. In 1975, Mpale co-founded the “rock jazz” ensemble Roots, inaugurating the era of jazz fusion in South Africa and opening the door for Pacific Express and Spirits Rejoice.
By 1977, Mpale had earned the right to an album of his own and, having participated in the 1975 recording of Abdullah Ibrahim’s African Herbs, turned to producer Rashid Vally of the As-Shams/The Sun label for his solo debut. Vally financed the project and seized an opportunity to license it to the local subsidiary of a major international label. As such, Our Boys Are Doing It was issued in South Africa on the Mercury label in 1977. Featuring saxophone heavyweight Kippie Moketsi, the album was a response to the global direction taken by trumpeter Hugh Masekela on The Boy's Doin' It in 1975. In contrast, seeped in the bump jive style of popular urban township music, Our Boys Are Doing It was a manifesto for an authentic, exuberant, homegrown variety of South African jazz.
The Delights formerly unissued recording “Listen To Me Girl” first made it’s vinyl debut during 2017 when released back to back with Tearra’s modern soul anthem “Just Loving You” (SJ1008). Having sold out very quickly this release now commands a price of £60.00 a copy. So, with demand still high we have decided to release “Listen To Me Girl” for a second time with the addition of two recently found unissued master tape tracks, which make their vinyl debut as part of this 3 track EP.
The Delights story began in the early 1960’s while as a children’s group from Chester PA. known as ‘The Twilights’ they began entering local talent shows which culminated in a performance at Philadelphia’s prestigious ‘Uptown Theatre’ during 1963. ‘The Twilights’ made their professional recording debut in 1964 for Weldon McDougal III, Johnny Stiles and Luther Randolph’s Harthon Production’s label with “It’s Been So Long/She Put Me Down” (TW-34). A second Twilights 45 came in 1967 “Shipwreck/For The First Time” (TW-35) which sold sufficiently well to be picked up for national distribution by Cameo Parkway. The group consisted of four male vocalists, brothers Kemp “Toppy” Hill, Ellis “Butch” Hill (the eldest) and Jaime “Peanut” Hill and their friend Raymond, plus lead singer and only female member Brandi ‘Peaches’ Wells (born Marquerite J. Pinder) who was only 9 years old when she sang on the group’s first Harthon 45, (Jaime Hill reputedly never featured on either of the two Harthon 45 recordings).
The Hill Brothers were cousins of Manny Campbell and it’s through this family connection that the group came to Emandolynn Productions initially as backing singers before being persuaded by Manny to drop their former performing name of ‘The Twilights’, to become ‘The Delights’. Under Manny and fellow Philadelphian Charles J. Bowen’s tutelage they recorded the delightful crossover dance track “Listen To Me Girl” during the months of July and August of 1968. Recent unearthed master tape finds from these early sessions have since yielded the featured “Come And Rejoice” an energetic subtle gospel influenced dance track which Manny wrote and produced on them in the hope of giving them a wider body of work and appeal as he shopped their demos around local record companies. The original backing track to “Listen To Me” is also featured on this release.
During the mid-1970’s ‘The Delights’ under the tutelage of respected Philly producer, arranger and songwriter Morris Bailey Jr recorded two 45 releases for the Jamie/Guyden distributed Phil-L.A Of Soul label “It’s As Simple As That/I’ve Got Enough Sense” (PH-374) and “Face The Music/Things Ain’t What They Used To Be” (PH-379). Brandi Wells had left the group prior to the Phil-L.A Of Soul releases to firstly join Major Harris’s backing singers ‘Brown Sugar’ before forming the group ‘Breeze’ who backed fellow WMOT label stable mates Billy Paul, Fat Larry & Philly Cream (a.k.a Ingram). Breeze later evolved into the group Slick who recorded the self-named album which produced the chart hits “Space Bass” and “Sexy Cream”. In 1981 Brandi recorded her first solo debut album ‘Watch Out’ which reached #37 on the Billboard R&B Chart, her second solo album entitled “20TH Century Fox” followed in 1985 for the Omni label. She recorded the Butch Ingram penned “I Love You” 12” single for Butch’s Society Hill records in 1992. Sadly, Brandi Wells passed away in 2003 at the age of 47.
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
RAWAX welcomes back Gregor Tresher!
We re very happy to present you the second release by Gregor under his Sniper Mode moniker on our Motor City Edition.
Homecoming EP is an outstanding Electro record which comes around with vocals by Exzakt aka Larry McCormick on the main track.
Big support by Dave Clarke!
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
"On Kit-Cat, Casper Skulls become a fully involved effort shared between band members and longtime friends Melanie St. Pierre-Bednis, Neil Bednis, and Fraser McClean. Neil and Melanie, the husband-and-wife duo at the forefront of the indie rock project, split the songwriting, guitar-playing, and vocals on Kit-Cat while also sharing instruments with Fraser, who carries more than his own weight on drums, bass, and guitar throughout.
The combined effort that fueled Kit-Cat paints a poignant picture of what Casper Skulls has evolved into since their last record, Knows No Kindness, was released in 2021. The result is an 11-track mosaic of the band’s life in recent years, grieving loved ones and lost relationships, full of self-love and love shared between longtime bandmates who not only explore new lyrical inspirations but shuffle their lineup from track-to-track to showcase their ultimate strength: collaboration.
Following a lineup change (down to 3), a change of scenery (north to Sudbury), and several major life changes (Neil and Melanie welcomed their first child in 2023, while Fraser was hitting the road as a guitar tech for Tokyo Police Club and Pup), the one thing that remains steadfast in Casper Skulls’ identity as a band is its synchronicity. Listen close as they embrace each other’s skills and celebrate all that each member brings to the table.
Casper Skulls have successfully grown into their own on Kit-Cat, ultimately delivering the best album of their career."
Discover the captivating musical universe of David ‘Yacouba’ Jacob, Trust's emblematic bassist since 1996. This versatile and passionate musician has explored a variety of horizons, from world music to blues and jazz, collaborating with talents such as Geoffrey Oryema, Ilène Barnes and Ladell McLin.
In 2018, the double bass conquered him, taking him to the frontiers of classical, contemporary and jazz. Today, at the head of his own group, the ‘YACOUBA TRIO’ - with Nicolas Noel on piano and Hakim Molina on drums - he presents some unique compositions. These pieces fuse the jazz of the 60s with the ethnic influences that have always nourished him
**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**
Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.
Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”
Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.
This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.
From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.
As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.
After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.
“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."
Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.
out of Stock
Last delivered 15 months ago available to reorder, subject to availability
Limitierte Neuauflage auf goldfarbenem Vinyl samt Bonus-7" zur Feier des 10. Jubiläums dieses grossartigen Albums von Deutschlands bestem Funk-Ensemble. Elf filmreife Deep-Funk-Instrumentals, gefeierte B-Boy-Breaks und Dancefloor-Killer-Vocals von The Mighty Mocambos und ihren Featuregästen. Mit von der Partie sind Filmkomponist Peter Thomas, HipHop-Pate Afrika Bambaataa, die Rap-Legenden Charlie Funk aka Afrika Islam (Rocksteady Crew) und Donald D (von Ice-Ts Rhyme Syndicate), desweiteren Nichola Richards, Shawn Lee, DeRobert (vom Nashville-Label GED Soul), die Zulu Nation MCs Deejay Snoop und DJ Hektek sowie Orgel-Genie Guillaume Metenier.
All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick. It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it: "I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel's latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so once I heard Decay I reached out and sent Fatboi Sharif and Dove some kind words about that record. The rest is history." At the end of December 2023 Dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done. "I'm not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear," doseone explains. Listening to All Portrait, No Chorus you can hear the battery in doseone's back as he pythons his way through each instrumental. For his part, Steel Tipped Dove_a prolific producer over the last two years_delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.
RAWAX welcomes back Gregor Tresher!
We re very happy to present you the second release by Gregor under his Sniper Mode moniker on our Motor City Edition.
Homecoming EP is an outstanding Electro record which comes around with vocals by Exzakt aka Larry McCormick on the main track.
Big support by Dave Clarke!
out of Stock
Last delivered 6 months ago available to reorder, subject to availability
Stille kann entweder Ruhe oder Stagnation bedeuten. Walt McClements hat sich mit diesen gegensätzlichen Kräften auseinandergesetzt, um "On a Painted Ocean" zu realisieren: eine Suite von Akkordeon und Pfeifenorgel geleiteten Stücken, die einen stetigen Kurs verfolgen, anschwellen und sich mit einer Flut von zarten Emotionen erweitern. Der Komponist und Multiinstrumentalist hat den Titel seines zweiten Albums von Samuel Taylor Coleridges berühmtem Epos "The Rime of the Ancient Mariner" und dessen Beschreibung eines Bootes, das auf See feststeckt ("As idle as a painted ship / Upon a painted Ocean"). Es ist ein Eindruck, der sowohl den Prozess als auch das Produkt von McClements' Western Vinyl Veröffentlichung widerspiegelt, vom sanften Entfalten eines rauen Schilfrohrtons im Opener ,A Painted Ship" bis hin zum düsteren, mit Effekten beladenen Drone von "Washed Up" und dem abschließenden Flattern und Signalstörungen, die sich in ,Clattering" geräuschvoll zu triumphaler Euphorie erheben. "On a Painted Ocean" ist das Ergebnis eines Zusammenflusses von Ereignissen und Inspirationen, die sich verändert haben wie das Wetter selbst. Die ersten Skizzen begannen mit dem unerwarteten Zugang zu einer Kirchenorgel in Pasadena im Jahr 2022, bevor diese Skizzen zur Seite gelegt wurden, um sich auf ein arbeitsreiches Jahr als Mitglied der Live-Band von Weyes Blood vorzubereiten. Die Monate im Tourbus mit begrenzten Instrumenten veranlassten McClements dazu, den Klang seines bearbeiteten Akkordeons auf dem Synthesizer nachzubilden, und überlagerte ihn mit den Orgelstücken. Als dieser Zyklus zu Ende ging, war McClements begierig darauf die Platte zu beenden, war sich aber nicht sicher, wie er den Faden wieder aufnehmen sollte. Festgefahren in der Flaute einer kreativen Blockade, nahm McClements seine Spuren von bearbeiteten Akkordeons und Synthesizern, Pfeifenorgel und Melodica, Zungen und Pfeifen, die durch Pedale und Computer laufen, in seine ehemalige Heimat New Orleans zum Karneval mit. Nachdem er ein Jahrzehnt in der Stadt in Louisiana gelebt hatte, bevor er nach Los Angeles zog, fand McClements in einer der ekstatischsten und bedeutungsvollsten Zeiten des Jahres neue Inspiration. Das Ethos der Kunst um der Gemeinschaft willen und die Praktiken der Fürsorge inspirierten ihn den Rat seiner Musikerkollegin und Mentorin Rachika Nayar zu befolgen und Mitstreiter einzubeziehen, darunter auch Nayar selbst, die eine zusätzliche Produktion zu ,Sirens" beisteuert. Aurora Nealand, eine alte Freundin und ehemalige Bandkollegin, antwortete ebenfalls auf den Ruf und fügte Saxophon zu den unruhigen Gewässern von ,Cloud Prints" und ,Parade" hinzu. Der letztgenannte Track ist der klangliche und konzeptionelle Höhepunkt auf McClements' Reise zur Verwirklichung von "On a Painted Ocean", wo eine steigende Tonhöhe und aufgewühlte Segel auf eine Feldaufnahme von Community Care treffen. Ein Verdienst von starken Beziehungen und gegenseitiger Unterstützung, das Album zeichnet als eine persönliche Pilgerreise auf - die Anpassung an die Gezeiten und die Erinnerung daran, dass die Gemeinschaft helfen kann, wenn man sich auf dem Meer festgefahren fühlt.
Wie Hip-Hop nach Hamburg kam
Die Compilation ist als Zeitreise zu den Anfängen der Hamburger Hip-Hop-Kultur konzipiert und umfasst über 100 weitgehend unveröffentlichte Songs und Skits. Begleitet wird das Triple-Vinyl von einem 96-seitigen Booklet, das von den frühen Jahren von Hip-Hop, Rap und DJing in Hamburg erzählt. Präsentiert wird das Werk von den Herausgebern des Buchs und den Kuratoren der Museumsausstellung EINE STADT WIRD BUNT.
Kennt eigentlich noch jemand Easy Business? Was wie ein Ratgeber Video auf YouTube klingt, ist der Name einer der ersten Hamburger Rap-Gruppen. Die vierköpfige Formation aus Steilshoop gründete sich schon in den späten 1980er Jahren und begann bald erste englischsprachige Texte zu schreiben. 1989 nahmen sie gemeinsam mit Mario von Hacht den Song „Money“ in einem Jenfelder Jugendzentrum auf.
Als House-Produzent verfügte Von Hacht über ein vergleichsweise schon recht ansehnliches Produktions-Equipment. Selbst die legendäre Roland TR-808, analoger Drumcomputer und Allzweckwaffe von Hip-Hop-Produzenten, war bereits 1989 Teil seines Maschinenparks. Nur hatte er sie eben nicht für Rap genutzt – bis Easy Business anklopften. Und so öffnete ein Musik-Nerd und Technik-Freak dem Hip-Hop eine Tür in Hamburg. Von Hachts Offenheit für den neuen Musikstil sollte sich auszahlen: 1995 produzierte er mit „Nordisch by Nature“ den ersten Chartstürmer von Fettes Brot.
Es sind Geschichten wie diese aus der Gründerzeit des Rap in Hamburg, um die sich die 3-Vinyl-Compilation EINE STADT WIRD BUNT dreht. Unter den über 100 Songs und Skits aus den frühen Jahren des Rap in Hamburg finden sich neben dem Song „Money“ von Easy Business auch ein Mitschnitt eines Auftritts der Gruppe in der Fabrik im Mai 1991.
Von frühen Aufnahmen von MC Africa True, der später unter dem Namen Nana einige Hits landen würde, bis zu den Britcore-Veteranen von Readykill, von 2 Ruff, deren Mitglied Simple Simon zu den ersten Hip-Hop-Produzenten der Stadt gehörte, bis zu den Reim Banditen, die als eine der ersten hiesigen Bands mit einem Majorlabel-Vertrag als Hamburger Antwort auf die Fantastischen Vier positioniert werden sollten, vereint das Triple-Vinyl eine einzigartige Sammlung musikhistorischer Zeitdokumente. In Kombination mit dem begleitenden Booklet vermitteln sie ein authentisches – und überaus unterhaltsames – Bild von den Anfängen des Rap in Hamburg.
Nach dem preisgekrönten, 2021 erschienenen Buch „EINE STADT WIRD BUNT. Hamburg Graffiti History 1980-1999“ und der gleichnamigen Ausstellung, die bis Anfang Januar 2024, als eine der erfolgreichsten aller Zeiten, im Museum für Hamburgische Geschichte gezeigt wurde, folgt mit der Compilation nun also eine weitere Dokumentation Hamburger Subkultur Geschichte der 1980er und 1990er Jahre. Im Fokus diesmal: die Pioniere des Rap in der Hansestadt.
Zum Team hinter dem Triple-Vinyl gehören neben den vier Herausgebern von EINE STADT WIRD BUNT. Oliver Nebel, Frank Petering, Mirko Reisser und Andreas Timm drei ausgewiesene Kenner der deutschen Hip-Hop-Szene. Oliver Herbst, einst DJ der Hip-Hop-Band City Nord, betreibt heute ein Musiklabel, auf dem die Platte erscheint, und konnte im Zuge der Recherche an viele alte Kontakte anknüpfen. Ebenfalls mit an Bord: der langjährige Chefredakteur des Hip-Hop-Magazins Backspin Dennis Kraus und der Musikjournalist und Moderator Falk Schacht.
Über einen Zeitraum von über zwei Jahren hinweg hat sich das Team auf Recherche begeben. Sie nahmen Kontakt zu Bands, Rapper*innen, DJs und Produzenten auf, die in den 1980er und 1990er Jahren in und um Hamburg aktiv waren. Sie sichteten und archivierten unzählige Stunden von Radio-Shows, Tapes, Demo-DATs und Live-Mitschnitten und führten Interviews mit Hip-Hop-Pionieren aus der Hansestadt. „Unser Ziel war es, ein kaum beleuchtetes Kapitel Hamburger Subkulturgeschichte zu erzählen“, sagt Mirko Reisser.
Begleitet werden die Platten deshalb von einem rund 80-seitigen, reich bebilderten Booklet im Vinyl-Format, das in aufwändig recherchierten Texten nachzeichnet, wie der neue Musikstil ab Mitte der 1980er Jahre in Hamburg langsam heimisch wurde. Zu den zentralen Themen dieser Erzählung gehört die Abwesenheit von technischem Equipment – und der Umgang der jungen Szene mit diesem Mangel.
Ein Vierspur Kassettenrekorder musste für die ersten Aufnahmen im Kinderzimmer reichen. Und wer DJ werden wollte, übte Scratchen mit dem Plattenspieler der Eltern. Anders als heute, wo man mit einem Smartphone in der Hand theoretisch ein Millionenpublikum erreichen kann, stellte die Aufnahmetechnik damals eine große Hürde dar. Wer jedoch über die technischen Voraussetzungen verfügte, Songs aufzunehmen, wurde schnell zur Anlaufstelle für die junge Rap-Szene.
Parallel zu dieser Ära der Technik-Autodidakten, öffneten die Rapper*innen der frühen 1990er Jahre ebenfalls ein Fenster in eine neue Welt: Indem sie anfingen, auf Deutsch zu rappen, grenzten sie sich bewusst von den amerikanischen Vorbildern ab und schufen ein ganz neues Selbstbewusstsein der jungen Subkultur. Und ganz nebenbei auch ein ganz neues Bewusstsein für die Möglichkeiten der deutschen Sprache. „Hier wurde etwas gänzlich Neues erschaffen“, sagt Oliver Herbst.
Viele Künstler, die auf der Compilation vertreten sind, dürften heute nur noch echten Hip-Hop-Nerds bekannt sein. Doch es finden sich auch bekannte Namen auf der Tracklist. Jan Eißfeldt etwa, der heute solo als Jan Delay oder als Teil der Beginner Konzerthallen füllt. Oder Fettes Brot, die von einem Hip-Hop-Trio aus dem Hamburger Umland zu einer der erfolgreichsten deutschen Popbands der Gegenwart heranwuchsen. Oder Deichkind, die zu einem massentauglichen Universal Kunstprojekt avanciert sind.
Wie schon das gleichnamige Buch und die Museumsausstellung, so blickt auch die Compilation EINE STADT WIRD BUNT. hinter die Kulissen einer jungen Subkultur – und erzählt parallel spannende Kapitel Musik-, Technik- und Stadtgeschichte aus der Hip-Hop-Hochburg an der Elbe.
INTERPRETEN
Fettes Brot, Absolute Beginner, Deichkind, Das Bo, Ferris MC, Mr. Schnabel, Sleepwalker, Kastrierte Philosophen, Mellow Mark, David Fascher, Easy Business, Reim Banditen, Readykill, TobiTob, I.L.L. Will, City Nord, MK Cram (Poets of Peeze), Dialektik, 2 Ruff, Nina, Flashmaster Ray, Dennis Deutschland, 2BIAS, MC Africa True alias Nana, Vers Chaoten, Die Erstausgabe, THC (Ter Hartchor), R.A.F. (Reimende Antifaschisten), Direkt Aktion, Fogmoor, Syren, Mental Disorda (Crime Code Barets), Dennis the Menace, Selma, 08/15, Hamburg Royal, Skunk Funk, B-Low, Gizmo, AJ, SMG, Phantom Black, Leon Le Pro alias EL’OMC, Paolo 77, Monti, Hanseknaller, Schlechta Umgang u.v.a.
ZITATE VON
André Luth, Jan Eißfeldt, Mathias Arfmann, Ale Dumbsky, David Fascher, Fatih Akin, Carsten Bohn, Schiffmeister (Björn Beton), Pasha Kamber (DJ MPK), Boris Ekambi, Sleepwalker, Mr. Schnabel, Nana Abrokwa, Simon Vegas u.a.
PRODUCER
Mario von Hacht (Super Mario), Sleepwalker, B-Base, Bubblez, TobiTob, X-Ray, Simple Simon
Wenn sie nicht gerade aus dem Fenster auf die stürmische Skyline von Manhattan blickte, verbrachte Margo Guryan ihre dreißiger Jahre damit, Ohrwürmer für Leute wie Bobbie Gentry, Jackie DeShannon, Claudine Longet, Carmen McCrae und Julie London bei CBS's April Blackwood Music zu schreiben. Guryans zeitlose Gedanken über Liebe, Sonntage, Erdbeben, Weinen und Jungs namens Timothy haben unzählige Filme und virale Videos unterlegt. Meisterwerke aus früheren Zeiten. 28 ihrer Songwriting-Demos aus den 60er und 70er Jahren sind auf dieser 25-jährigen Jubiläums-Doppelalbum-Edition.
Every so often an album of such deceptive genius, of such aesthetic clarity, comes across our desk and transfixes us. Thought Leadership's III Of Pentacles is one such work of art. It's an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.
Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. The first time we heard III Of Pentacles, we nearly wept at the thought that something so beautiful, so bursting with real hope, could even exist in this brutal world. To quote the Quietus, "imagine if Stockport was situated somewhere along the Pacific Coast Highway rather than the M60, and you’ll have some idea of the coordinates to the post-industrial, sunburnt dream space opened up here."
So, who is Thought Leadership? What do we know about them? They reside in Stockport and are obsessed with ethereal guitar records. That’s about it. That and these X ideas shared with you, the listener.
Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column’s classic “LC” was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs.
Ushered in on 808 kicks, “I” opens the record as a beautiful Sketch for Stockport; a chiming maj7 chord dripping in chorus and delay sets us on our way. The Vini Reilly comparisons are unavoidable. “II” is all John McGeoch, with its trippy goth-psyche arpeggiated pattern cascading across the stereo image. Do those drums swing? But goths don’t swing?! They do here. We’re treated to a bit of crunch on the lead guitar part and some really lush reverb. We even step forth into shoegaze territory, albeit briefly, for the middle eight. “III”, a firm Be With favourite, continues the dreamy psyche leanings of the previous track, with an even bigger melody this time. We’re hearing The Teardrop Explodes on quaaludes here. A proto-dream pop cut soaked in melancholy. But watch out! The coda finds Johnny Marr has gotten into the ‘ludes and gatecrashed the final bars with some incredibly ignorant B minor pentatonic noodling.
“IV” ditches the drum machine for the first in a suite of three beatless electric guitar duets. The first of these semi-improvised rubato ideas is a striking departure from the earlier playful pieces, coming over emo and moody. Greyscale sulking for Stratocaster. Sign us up. “V” contains some really lyrical phrasing; a gorgeous conversation between two guitars. Real Stopfordian Primitive; meditative, crude, rain-soaked. We cycle through the same feels, then end on an alluring chord that breaks the pattern. Sometimes thoughts are like this. “VI” creeps in all plaintive, then a huge reverberating descending guitar line comes tumbling in like something off those classic Dif Juz 12”s. There’s some Maurice Deebank in there too, for sure, and the coda nods to early Meat Puppets.
“VII” rounds out the A Side, and succinctly presents a summary of all ideas explored thus far on our journey. The drum machine is back, this time with some wispy delay, before both guitars enter together playing interlocking lines. As we start, we end, with the delayed 808 guiding us out.
Opening Side B, “VIII” sees us embark on the other side of our journey as we slow down and space out. The drum machine is here, but the guitars are different now. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Side B is one for headphones for sure. “IX” is almost too exquisite for words. A New Age Mixolydian voyage through the cosmos. If you’re unmoved by the end you’ve probably got no pulse. We were left blunted ineffable by this one, such is the smudged elegance radiating from this idea. All hail the Thought Leader.
“X” is a full circle moment, and a fitting end. If you’ve not already elsewhere across the platter, you will be getting heavy Robin Guthrie vibes from this piece. Like the rest of Side B, this improvised jam sticks within a framework of related chords but the celestial energies channelled might invite us to wander “outside”, especially when the Tubescreamer is engaged.
RIYL Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike and adjacent guitar musicks – but, ultimately, this is just its own thing; such is the strength of ideas presented. "It’s good music to chill out to." (??)
Be With is honoured to present the first ever vinyl release of III Of Pentacles, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. They inform us that they shuffled their tarot deck to ask what the album should be called and the card you see on the cover popped out. The III Of Pentacles tarot card represents teamwork, shared vision and the ability to achieve goals through collaboration. We like to think Thought Leadership and Be With have nailed this one.
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
If the jazz of François Tusques is “free”, his spirit is even more so: having recorded Free Jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself…
In 1971 he founded the Inter Communal Free Dance Music Orchestra which, as the notes the this album stated, “is an interpretation of a music which synthesizes the different communities living and working in France.” In 1976, on the first album (L’Inter Communal) we can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows “by heart”? Having lived for a long time in Nantes, he would expand his ‘brittanitude’ on the canal linking the city to Brest by playing with, for example the Diaouled-Ar-Menez. With these “devils from the mountain” who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle!
With percussion from Samuel Ateba and Kilikus, the association launches the ‘bombardier’: the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor’s Brotherhood of Breath (“La rencontre”) when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff (“Les racines de la montagne” or “Le cheval” sung by Andreu). Only one thing to say to this Brotherhood Of Breizh: Mersi!
"Fred van Zegveld's album ""Dynamite,"" released in 1969, is a remarkable showcase of his prowess on the Hammond organ. The album features a blend of original compositions and covers, all highlighting Van Zegveld's soulful and jazzy style. The album comprises nine instrumental tracks, with the majority being Van Zegveld's original works. Notable originals include ""Family Blues,"" ""Blue Organ,"" and the title track ""Dynamite,"" which are celebrated for their dynamic Hammond organ performances. The album also features covers such as ""Here, There and Everywhere"" and ""I Wanna Be Your Man"" by Lennon-McCartney, as well as ""Misty"" by Erroll Garner. The supporting musicians on the album include Ruud Jacobs on bass, Louis de Bey on drums, and Rick Beekman on guitar, all contributing to the album's rich and engaging sound. Finally available again on vinyl in a limited edition of 500 copies on translucent red coloured vinyl."
When considering the jazz vibraphone giants of the 20th century, seven stand out: Lionel Hampton, Red Norvo, Milt Jackson, Terry Gibbs, Cal Tjader, Gary Burton, and Bobby Hutcherson. Bobby Hutcherson (1941-2016), originally inspired by Milt Jackson, emerged from Los Angeles in the late 1950s. After a stint with the Billy Mitchell-Al Grey sextet in 1962, Hutcherson moved to New York, becoming the house vibraphonist for the Blue Note label. His foundation in hard bop did not limit him, as he also played in avant-garde sessions with artists like Eric Dolphy and Jackie McLean. On December 11, 1983, the 42-year-old Hutcherson performed seven standards with a stellar group. Pianist George Cables, consistently excellent throughout his career, had been working with Hutcherson since 1977. Bassist Herbie Lewis, a versatile musician, had collaborated with Hutcherson since 1966. Drummer Philly Joe Jones, known for his work with Miles Davis, also contributed to the session. The recording of the Four Seasons album features seven standards, starting with Thelonious Monk’s “I Mean You,” which showcases each musician. Hutcherson’s solo on Cole Porter’s “All Of You” is particularly adventurous. “Spring Is Here” receives a beautiful interpretation, and “Star Eyes” is taken uptempo. Hutcherson’s introduction on “If I Were A Bell” is notable, as is Jones’s solo. The session spotlights Cables on “Summertime” and concludes with a vibrant version of “Autumn Leaves.” Decades later, the music remains a timeless classic. Four Seasons is available on black vinyl, celebrates its 40th Anniversary, and includes an insert with newly written liner-notes by Scott Yanow
Da sind sie wieder: Gewohnt prachtvoll reiht sich "Setzen, Sekt!", das neueste Album der Monsters of Liedermaching in ihre an Glanzlichtern reichhaltige Diskographie. In 12 neuen Perlen reflektieren sie die Wirren des Daseins und ihre Rollen darin. Ob Agenten mit Hundewelpen oder musikhassende Katzen, die eigenen Karriereziele als Torhüter oder Entscheidungsfragen zur Tapetenfarbe, ist dabei zweitrangig. Das Leben stellt die Reibungspunkte und die Monsters ölen sie mit Poesie. In ihrem charakteristischen Liedermacherstil zwischen Punk und Popappeal präsentieren sie sich in gar reizender Ausgelassenheit und begegnen dem Wahnsinn der Welt mit einem Lächeln, denn das Ventil heißt Humor und die Monsters sind eine blühende Oase des Glücks.
Da sind sie wieder: Gewohnt prachtvoll reiht sich "Setzen, Sekt!", das neueste Album der Monsters of Liedermaching in ihre an Glanzlichtern reichhaltige Diskographie. In 12 neuen Perlen reflektieren sie die Wirren des Daseins und ihre Rollen darin. Ob Agenten mit Hundewelpen oder musikhassende Katzen, die eigenen Karriereziele als Torhüter oder Entscheidungsfragen zur Tapetenfarbe, ist dabei zweitrangig. Das Leben stellt die Reibungspunkte und die Monsters ölen sie mit Poesie. In ihrem charakteristischen Liedermacherstil zwischen Punk und Popappeal präsentieren sie sich in gar reizender Ausgelassenheit und begegnen dem Wahnsinn der Welt mit einem Lächeln, denn das Ventil heißt Humor und die Monsters sind eine blühende Oase des Glücks.
Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?
You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.
On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.
The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.
Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.
So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:
I don’t wanna be made to see
I just wanna ask “what’s that?”
Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.
Lay in bed alone at night and ask aloud to the stillness,
“What were you doing at the Albuquerque Airport?
What were you doing there??”
And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.
Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.
Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?
You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.
On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.
The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.
Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.
So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:
I don’t wanna be made to see
I just wanna ask “what’s that?”
Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.
Lay in bed alone at night and ask aloud to the stillness,
“What were you doing at the Albuquerque Airport?
What were you doing there??”
And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.
Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.
Bon Iver, Bon Iver is JustinVernon returning to former haunts with a new spirit. The reprises are there - solitude, quietude, hope and desperation compressed - but always a rhythm arises, a pulse vivified by gratitude and grace notes. The winter, the legend, has faded to just that, and this is the new momentary present. "Bon Iver is often equated with just me," says Vernon, "but you are who surrounds you, and for Bon Iver, Bon Iver I wanted to invite those voices as musical catalysts." Thus on the track "Beth/Rest" and throughout the album, we hear the pedal steel of Greg Leisz (LucindaWilliams, Bill Frisell), the uniquely layered low end of Colin Stetson's (TomWaits, Arcade Fire) saxophones, the riffing of Mike Lewis' (Happy Apple, Andrew Bird) altos and tenors, and the lush horns of C.J. Camerieri (RufusWainwright, Sufjan Stevens). Bon Iver regulars Sean Carey, Mike Noyce and Matt McCaughan contributed vocals, drums and production, Rob Moose (Antony and the Johnsons, The National) helped with arranging and added strings, and fellow members of Volcano Choir, Jim Schoenecker and Tom Wincek provided processing. Bon Iver, Bon Iver was recorded and mixed over the course of three years
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Bells Are Ringing is the debut EP by Melbourne Funk 10 piece outfit Mondo Freaks, released following on from the single of the same name and a thrilling Dub Version by Harvey Sutherland.
Mondo Freaks formed originally as a concept band, equipped with an ever-evolving setlist of late '70s and early '80s Funk classics, their journey has seen them invited to be the backing band for the Australian tours of such luminaries as Leroy Burgess (the producer and artist behind Boogie and Disco favourites Black Ivory, Logg, Aleem, Inner Life, and Universal Robot Band) and the iconic Evelyn "Champagne" King. Having performed at the iconic local Meredith Music, Golden Plains and Panama festivals and at numerous residencies Mondo Freaks have carved their mark, returning now to ring in a new era of groove-soaked original music.
The band revolves around the rhythm section of in demand session bassist Luke Hodgson and drummer Graeme Pogson (GL, The Bamboos). Gathering some of the finest musicians from Melbourne's legendary Soul scene, they're accompanied by five incredible vocalists including Jade McRae, Susie Goble, Francisco Tavares, Aaron Mendoza and Jason Heerah.
New tracks on the EP include "Find A Way", which hits straight away with a percussion and synth hook, blending Jade McCrae's vocal delivery with an uplifting message about finding hope in trying times.
Also included is the Harvey Sutherland Vocal Mix of "Bells Are Ringing", which keeps much of the spaced out Larry Levan, Shep Pettibone re-edit approach that was on his much lauded Dub Version.
It's easy to see why his remix skills have been in demand and utilised by Disclosure, Khruangbin, BadBadNotGood, Tycho, Boston Bun, Lucius, Jungle Giants, Genesis Owusu and Franc Moody. On his own releases Sutherland has collaborated with the likes of DāM FunK and Nubya Garcia.Tightening its hold on the dancefloor, the beefed-up rhythm section rolls deep into the nocturnal hours, as mesmerising reverb loops elevate the track skywards.
Luke and Graeme got to know Harvey Sutherland when they played together backing Leroy Burgesson his Australian tour in 2018. After that Luke and Graeme played in Harvey's live band across the world and then contributed his 'BOY' album. "We were thrilled when he turned in his Dub of "Bells"", Luke said. "A kind of 'what would Shep Pettibone or Larry Levan do?' moment. It's like being transported to Compass Point Studios in '81!"
Mondo Freaks make Funk inspired by late '70s / early '80s era as it gently moved beyond Disco. That era has continued to inspire many artists, but what sets Mondo Freaks apart is their live instrumentation plus a focus on vocals and great songwriting, creating something beyond simply instrumental grooves.In the studio and in their full live lineup Mondo Freaks are a formidable ensemble who take their sound beyond mere homage, without a hint of irony or any knowing winks. Mondo Freaks simply breathe life into a timeless sound and make it feel more relevant than ever.
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Produced by Scott McCannell and mixed by Kelly Finnigan of Monophonics, Record Kicks presents two brand new single from Canadian rising soul star Tanika Charles on limited edition clear 45 vinyl. “Don’t Like You Anymore and “Here When You’re Ready” are taken from the highly anticipated new album “Reasons To Stay” from the Twice JUNO nominated and two time Polaris Prize listed, Tanika Charles that is coming out in May 2025 via Record Kicks. On the A side “Don't Like You Anymore” is a mid tempo gospel funk stormer able to set the dancefloor on fire. With its boom bap smacked drums and chunky basslines, it will not be a surprise if rap/hip hop artists will get on it to sample the song. The B side “Here When You’re Ready” is an equally strong mid tempo soul number that makes this limited edition 45 vinyl a real double sider. Canadian Soul/R&B powerhouse Tanika Charles in a few years has transformed from an emerging solo artist to a commanding performer and bandleader, a staple in the Canadian soul scene. The success of her three studio album "Soul Run" (2017), "The Gumption" (2019) and “Papillon De Nuit” (2022) propelled Tanika in front of new audiences far and wide, with extensive touring in North America and Europe where she performed at Trans Musicales Festival in France, the Lärz, Germany Fusion Festival, Mostly Funk & Soul Festival and Jazz Festival in UK, the Holy Groove Festival in Switzerland, and the Canarias Jazz Festival in Spain just to name a few. Her touring career has also seen her supporting the likes of Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bendouin Soundclash and Macy Gray
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.
It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.
Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.
In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.
No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.
For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.
“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
If every significant artist has an underrated gem in its catalog, then Mirage is that album for Fleetwood Mac. An obvious return to relative simplicity after the dramatic tension of Rumours and experimental ambitions of Tusk, the 1982 album finds the band re-grouping after a brief hiatus and again climbing to the top of the charts. Extremely well-crafted, well-produced, and well-performed, the double-platinum effort distills the group’s hallmark strengths into a filler-free set that never runs short of addictive pop hooks or daft accents.
Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set presents Mirage in reference sound for the first time. The efforts co-producers/engineers Ken Caillat and Richard Dashut went to capture the splintered albeit formidable band can be heard with stunning accuracy, range, depth, and detail.
Though Rumours understandably gets a permanent spot in the audiophile hall of fame, the smooth, clear, and dynamic sonics on Mirage confirm that the record that stood as Fleetwood Mac’s last effort for five years deserves a place in the same vaunted arena. The presence and imaging of Mick Fleetwood’s percussion alone on this reissue might have you wondering how this slice of soft-rock bliss has gone under-noticed for decades. Other prized aural aspects — separation, definition, impact, tonal balance — are also here in spades.
Like much surrounding Fleetwood Mac in the 1980s, arriving at Mirage was not easy. Caillat searched for studios located outside of Los Angeles on a mission to change up the vibe of the band’s prior recording sessions. Everyone settled on Le Chateau in France, where relations between some members remained icy — and cooperation with the producers strained. Battles with exhaustion, bitterness, and addiction further informed the proceedings at the 18th century complex in the French countryside, where even communal meals were allegedly eaten in silence.
Inevitably, the feelings that co-producer Lindsey Buckingham, Stevie Nicks, Christine McVie, and company harbored — as well as the situations in which they found themselves — drifted into the songwriting. In its rapid ascent to rock-star royalty status, Fleetwood Mac drifted apart, embarked on solo pursuits, and found it was lonely at the top. Emptiness, the illusion of dreams, the longing for love, the want to escape to bygone times of innocence and happiness: Such themes inform a majority of the narratives. Even if the lyrics regularly take a back seat to easygoing arrangements that allow Mirage to come on like a refreshing breeze on a sunny summer afternoon.
Home to three Top 25 singles in the U.S. and having occupied the pole position of the Top 200 album charts for five weeks, Mirage rightfully resonated with the mainstream and attracted listeners on both sides of the pond. And how, via a smart blend of sugary melodies, warm harmonies, interlaced notes, nimble rhythms, taut structures, and passionate vocals. Not to mention the presence of what arguably remains Nicks’ signature song, the biographical “Gypsy,” a meditation on the loss of her close friend Robin Anderson that teems with majesty, mystery, and mysticism — and which gets an assist from Buckingham’s shaded tack piano and richly strummed guitar chords.
Its ranking as an all-time classic aside, that No. 12 hit has plenty of company when it comes to brilliant pop turns on Mirage. On the subject of Nicks, the raspy singer gets a little bit country on “That’s Alright.” Its clip-clopping pace and two-stepping progression complement subtle vocal swells that emerge during the final verse of a tune that is ostensibly about leaving but still conveys forgiveness and grace. And what would a Fleetwood Mac record be without Nicks drawing on the tools of the supernatural — cards, dreams, wolves, and the like — on the twirling “Straight Back.”
Despite the potency of Nicks’ primary contributions, Mirage seemingly unfolds as a tight competition between Buckingham and McVie — and one that ultimately ends in a draw. Buckingham’s salvos include the contagious “Can’t Go Back,” a yearning to time-travel back to the past that’s complete with hall-of-mirrors backing vocals; “Oh Diane,” out-of- left-field ear candy sweetened with hiccupped vocals and salt-and-pepper-shaken grooves; the chiming “Eyes of the World”; and “Empire State,” a delightfully fluttering track whose high-range vocals, lap harp notes, and ringing xylophones hint at the galaxies of sound that would erupt on Tango in the Night.
Then there’s McVie. As elegant, understated, and coolheaded as she’s ever been on record, she pours her heart out on cuts that revolve around her inevitable split with Beach Boy Dennis Wilson. In the process, she punctuates Mirage with a characteristic not always associated with catchy pop music: emotional weight, and the sense of dreaded acceptance in the face of dreams deferred.
“I wish you were here/Holding me tight,” McVie sings over a delicate melody on the album-closing piano ballad “Wish You Were Here.” Though they hoped otherwise, for the members Fleetwood Mac, distance and separation were always close at hand. Believing otherwise, inviting nostalgia, and pretending everything was fine only amounts to a mirage.
EBY is an acid house artist who has more than made his mark over the years. 40 years, to be exact, and to mark that rather notable occasion he is back with a special release on Foxbam Inc called ACID Thing and it comes in various different formats. This is a grey vinyl version that celebrates the classic acid sound while infusing it with a modern twist and plenty of big basslines, squelchy synths, and potent rhythms. The standout 'Acidanus' includes MC Soph who made her debut on Acid Indigestion Pt4 at just eight years old and now returns at 25. The EP also features a remix of 'Eggtrip' by renowned Belgian producer Outlander who you will likely remember from his iconic cut 'Vamp.'
This incredible triple album is the result of decades of history, and many years of work, between the legendary Micky Finn and Vital Elements. It is a musical journey and a definitive document of the scene from the early rave years to modern jungle, in all its many aspects and styles, produced in a way that only a pioneers such as Micky Finn & Vital Elements could do.
Perfectly planned and beautifully executed, this album will never be repressed, and once stock is gone, it is gone.
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
Introducing the Second Release from Microtonal Records on Vinyl Microtonal Records presents its highly anticipated second release, a celebration of the rich and diverse sounds of Aotearoa / New Zealand.
This exclusive vinyl release features five exceptional artists who are making waves in the electronic music scene. Side A opens with two remarkable collaborations. The first track, "Osiris Call," is a mesmerising creation by Seb Selknam, the mastermind behind Cultrun Cult Records, and Herman Saiz, the force behind Sounds of Sirius. This track has been expertly pre-mastered by the renowned Silat Beksi, ensuring an unparalleled auditory experience. Following this is "Phantasus," a captivating piece by Herman Saiz and HRZNTL, the owner of Microtonal Records. Side B continues the journey with Arokz's "Musical Gees," a track that showcases his unique sonic signature. Concluding the release is Vedana's "Lost in Nostalgia," a beautiful and evocative composition that lingers in the mind long after the needle lifts.
Immerse yourself in the vibrant sounds of Aotearoa / New Zealand with this exceptional vinyl release from Microtonal Records.
out of Stock
Last delivered 11 months ago available to reorder, subject to availability
Mr. K with two slices of Philadelphia disco, from smooth and slinky on our A-side to all-out floor pounding disco madness on the B.
Janice McClain, rightly adored for her Garage classic “Smack Dab In The Middle” (feat. on MXMRK-2068) but her second single is a real under-the-radar treat. The comfortably laid back groove somewhere between a stepper and simmering midtempo disco, classy and danceable as the finest Philly soul. Originally on a small LA-based label in 1983 (and sounding like it could have come out a good five years earlier), written and produced by McClain’s uncle Milt Tennant and his writing partner Thom Page, the same team responsible for “Smack Dab” — all Philadelphia rooted, so the sound should come as no surprise. Add McClain’s heartfelt and uplifting vocal and we easily have a lost classic. Mr. K’s edit trims the rare 12-inch version down for maximum sonic fidelity for its first appearance in a 7-inch format.
The flip side vibe goes in a completely different direction, although once again has its roots in Philly. The disco remake of the standard “Brazil” was a massive hit for the Ritchie Family in 1975, topping Billboard’s dance charts and getting deep into the Top 20 on the Hot 100. The group itself was a studio concoction led by veteran producer Richie Rome, with legendary trio Sweethearts of Sigma handling vocals — you’ll recognize their trademark harmonies from other huge classics like “Ain’t No Stoppin’ Us Now” and “Love Is The Message", studious listeners will detect a lot of similarities in the vamp section of “Brazil” and “Love Is…” as the MFSB house band launches into their trademark groove. This vamp section is unfortunately truncated on the original 7-inch single, but the always-attentive ear of Mr. K picks this point to begin his edit, starting where the original single faded out and giving us a full four-plus minutes of galloping disco delight.
Two flavors, both as tasty as it gets, all on one compact piece of wax! Another essential addition to your collection.
out of Stock
Last delivered 14 months ago available to reorder, subject to availability
Tappa Zukie is not only one of Jamaica’s greatest DJ’s, is also a much respected producer and arranger. Looking back through his master tapes we have found a lost release that due to being a worldwide recording artist and the pressures that this carries, it has stayed on his musical shelf and been passed over... until now.
When rhythm was King way back in the 1970’s, the predominant feature of the final mix down would in most cases be the drums and bass. Bringing drums and bass to the fore, the other instruments that create the tunes mood would take a back seat in the mix. With such fine musicians in the horn sections as Vin Gordon, Deadly ‘Headley’ Bennett and the unstoppable Tommy McCook, it sometimes felt, their services if nothing else were slightly underused.
So one way of rectifying this situation was one that Tappa himself instigated, putting a release together by picking some of his favourite productions that carried classic horn lines alongside those tightly recorded rhythms. Pushing those horn lines up in the mix and so making a feature of some of those touches that although added some colour to the original cut, laid back in the mix to the more Sound System friendly drum and bass cut.
When looking at the music with this approach, some of the other influences that were also in Tappa’s mind can be noticed more. Maybe it’s a Jazzier / Bluesy feel shining through. A strange thing happens that almost takes the song down the avenue of a soundtrack album. An unreleased film score to accompany an unreleased film.
So sit back and enjoy a lost release that time and place did not find time to see the light of day. As the opening track testifies and in the immortal words of Mr Tappa Zukie himself.. “Your Musical Daddy is back... Horns Up !!!!”
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.
Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.
On Chrystia Cabral's fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral's lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album's thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021's The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be. The title track, with its propulsive drum groove and anthemic chorus of "I don't belong here," is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album's broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers_The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun. Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING's first duet on "Mount Analogue," Turnstile guitarist Pat McCrory turns Cabral's original piano demo for "Alibi" into the crunchy, riff-y version that appears on the record, while Zulu's Braxton Marcellous gives "Drain" its sludgy heft. These parts aren't just incorporated seamlessly into the album; they feel like an integral part of its universe. Ultimately, though, Portrait of My Heart is nobody's record but Cabral's. She fearlessly draws the curtain back on parts of herself that she's never included in SPELLLING before_her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. "It's very much an open diary of all those sensations," she says.
Toy Tonics Music Berlin presents "Para Mytho Disco". The 2nd "Kapote" album of label founder and creative director Mathias Modica.
Keyboarder, DJ, producer, music nerd, graphic designer, multi-instrumentalist, sub-culture impressario and artist (formerly known as Munk of Gomma records.)
Kapote & Toy Tonics
In the last years Kapote was in the spotlight mainly for building the Toy Tonics label with his friends. Developing a platform for new positive quality dance music with a human touch. Toy Tonics is the opposite of the dark, druggy Techno and Trance sounds of the last years.
The warm inclusive music of Toy Tonics represents a new vibe that a young generation of diverse, stylish and culturally intersted generation of dancers loves now. Kapote's Toy Tonics became the key label for that vibe. (In 2024 Toy Tonics made 150 Toy Tonics events in 18 countries. With more than 150.000 people dancing. 90 millions streams on their music.)
Toy Tonics is more than a music label: It's a audio - visual universe. A community, almost a movement.
Based on a new positive attitude and aesthetic diversity. Mixing musicianship with DJ culture, analogue music with electronic, ideas from the past with sounds from now. To create something new. Connecting dance music with graphic design, art and underground fashion.
Kapote and his gang release vinyl, posters, shirts, art fanzines and make exhibitions and partys.
Toy Tonics started in Berlin as a underground niche project. But now became the key label of the new house, wild style disco and organic dance music scene.
Probably one of Berlin's biggest electronic music phenomena along with Keinemusik and Live from Earth.
It went fast: 2020 Kapote's crew started to make small parties in Berlin's off spaces. The "Toy Tonics Jams". The parties became "talk of the town", and Berlin clubs like Griesmühle and Panorama Bar invited the crew. Then international clubs and festival called. Toy Tonics were invited to SONAR (playing the mainstage with Kaytranada and DJ Tennis), KALA festival, Montreux Jazz festival.
Now TT has a residency at Panorama Bar Berlin and sold out events in Europe leading clubs like Phonox in London, Rex Club in Paris, Tunnel in Milan.
Toy Tonics now is the reference brand of a new generation of music loving dancers. Similar to Gomma records, Kapote's former label (2003 - 2015) that was one of the key labels of the "indie dance" scene of the Y2K years (along with DFA and Output Records).
Kapote created a multi-cultural movement with graphic designers, photographers, illustrators from the Berlin scene.
They publish the Toy Tonics Pocket Poster magazine, posters and design shirts. They organize the Toy Tonics Pop Up Galleries mixing music and art. In underground venues in Berlin and in new gallery spaces and museums around Europe.
Toy Tonics has been invited by Palais de Tokio museum in Paris, Triennale Museum Berlin, Design week Milano to create events.
The new Kapote album
The 12 tracks have a very own style. Based on dance music, but going much further. "Para Mytho Disco' is a futuristic mix of sounds. It's far away from the dark monotone techno and trance music from Kapote's hometown Berlin. Instead, he creates warm friendly atmospheres full of sonic colours and little musical surprises.
Kapote's knowlege of music history and his backround as a jazz piano student and son of classic music composer is clearly inside this music. Before turning into a DJ and electronic music producer he has been playing in bands since he was 13 years old.
The album is full of emotional chord progressions played by Kapote on various keyboards. Sometimes reminding music from the past, without being retro at all. The basslines and melodies are inspired by jazz fusion from the 1970ies. And he programmed syncopated grooves that come from afro-american dance music. There are influences from Japanese electronic music (Yellow Magic Orchestra), from 1980s Synthwave and from 1990s electronica (like Squarepusher and Luke Vibert).
Kapote plays keys, bass, flutes and percussions, he plays synth solos and sings on a few tracks. The complexity of the arrangements makes this music never boring. Lot of melodies and solos that catch the listener. Colourful soundscapes that make you want to listen or dance to this album more, and discover details also after you heard it several times.
Kapote background
Before starting Toy Tonics, Kapote used to run a label called Gomma. He produced four albums under the name Munk and music for other artists.
He produced music with Peaches, Franz Ferdinand founder Nick McCarthy, with New York street art legend The Rammellzee, Italian actress Asia Argento, the first three albums of WhoMadeWho and worked with LCD Soundsystem (listen to "Kick out the chairs", the Munk song with James Murphy )
In those "Gomma days" Kapote aka Munk was also one of the main DJs for VICE magazine parties and made music for art projects and fashion brands (Margiela, Prada, Colette).
In 2015 he stopped Munk and Gomma and started Toy Tonics. He found young producers and helped to develop their sound (Coeo, Cody Currie, Gee Lane, Barbara Boeing, Sam Ruffillo). Later he founded the sublabel Kryptox to release music by Berlin based bands that make new forms of jazz or neo classical sounds.
Under the name Kapote Mathias didnt release much:
Only his Kapote debut album "What it is" (2019) and an EP called "Electric Slide" (2022) and a collabo EP with Italian producer Sam Ruffillo ("Robot Salsa").
An although his Munk and Kapote music was an underground phenomena his music has always been a favourite of many great people from the scene.
Supported by DJs like Harvey, Chromeo, Moodymann, Jennifer Cardini, Gerd Janson, MYD, Andrew Weatherall to Blessed Madonna, Justice and Laurent Garnier… to name just a few.
out of Stock
Last delivered 14 months ago available to reorder, subject to availability
Mess Esque is an Australian duo who sound like they literally dreamed themselves into being, made up of Helen Franzmann (McKisko) and Mick Turner (Dirty Three, Tren Brothers). The two enjoy moving at an unhurried pace, but what: here"s their third album in less than five years! "Jay Marie, Comfort Me" feels a hemisphere away from Mess Esque"s first efforts, and a whole new atmospheric level above. The duo began as a correspondence course in 2020, swapping tracks remotely between Melbourne and Brisbane to experiment with pairing Mick"s guitar, keys and loops with Helen"s ruminative vocals. Their third effort arrives after the two actualised into the same space - that is, touring and performing together! - but they"ve continued the absentee ballot as before, collaborating from some 800 miles apart to write another great album. One with an edge... rocking, we daresay! Along with Keeley Young and Kishore Ryan from the live band, the album features cellist Stephanie Arnold and a couple of Australia"s living legends of percussion: Bree van Reyk and Mick"s ol" Dirty Three partner-in-crime, Jim White.
A crisp, spellbinding intro sets the mood for the first song on 'Maintenant Jamais', Population II's third album. With the guidance of producer Dominic Vanchesteing (Marie Davidson, Chocolat, Peter Peter), the turbulence of the band’s previous releases is structured and refined. The result is a sophisticated rock album that surprises with its languorous grooves, as heard on "Le thé est prêt", while staying true to the raw power for which the band is renowned, as demonstrated on vigorous tracks such as "La Trippance" and "Rédemption naturelle".
The album follows with "Prévisions", a song that ripples with finesse before abruptly transitioning into the instrumental number "Macavélique rock". While "Haut-fond" and "Cardinaux" are true feats of elegant prog rock, "Mariano (Jamais je ne t'oublierai)" and "homme étoilé" prove that Population II is also endowed with a profound melodic sensibility capable of creating catchy and explosive hooks.
On this new album, the trio fine-tunes the distinctive style they’ve been developing for several years, thanks in part to a fusion of shared influences – from Soft Machine to MC5 to L'Infonie – but also to a rare complicity that can only blossom between such close friends. This creative chemistry is what makes the band's complex songwriting seem so fluid and supple. Population II breaks through their previous sonic frontiers while remaining true to their roots. Therein lies the achievement of 'Maintenant Jamais'.
A crisp, spellbinding intro sets the mood for the first song on 'Maintenant Jamais', Population II's third album. With the guidance of producer Dominic Vanchesteing (Marie Davidson, Chocolat, Peter Peter), the turbulence of the band’s previous releases is structured and refined. The result is a sophisticated rock album that surprises with its languorous grooves, as heard on "Le thé est prêt", while staying true to the raw power for which the band is renowned, as demonstrated on vigorous tracks such as "La Trippance" and "Rédemption naturelle".
The album follows with "Prévisions", a song that ripples with finesse before abruptly transitioning into the instrumental number "Macavélique rock". While "Haut-fond" and "Cardinaux" are true feats of elegant prog rock, "Mariano (Jamais je ne t'oublierai)" and "homme étoilé" prove that Population II is also endowed with a profound melodic sensibility capable of creating catchy and explosive hooks.
On this new album, the trio fine-tunes the distinctive style they’ve been developing for several years, thanks in part to a fusion of shared influences – from Soft Machine to MC5 to L'Infonie – but also to a rare complicity that can only blossom between such close friends. This creative chemistry is what makes the band's complex songwriting seem so fluid and supple. Population II breaks through their previous sonic frontiers while remaining true to their roots. Therein lies the achievement of 'Maintenant Jamais'.
Roi is the new album from Sultan Stevenson, one of the most compelling voices emerging on the UK and European jazz scenes.Known for his ability to seamlessly merge narrative and accessibility, Stevenson’s music captures listeners both within and outsidethe jazz community. Drawing deep inspiration from legends like McCoy Tyner, Herbie Hancock, Kenny Kirkland, and Geri Allen,Stevenson’s compositions are an exploration of faith, identity, and the complexities of the human experience. His signature style,rooted in quartal harmony, vamps, pedal points, and modality, is elevated by his natural storytelling ability.Stevenson’s sound is unmistakably inclusive, with a humble approach that prioritises dramatic interplay within his trio over overlycomplex musical ideas. His music is captivating and approachable, reflecting his relationship with the Lord and his culturalheritage. Stevenson’s method of creating compositions, often starting with a central motif and building around contrasting melodicideas, highlights his deep understanding of contrast and narrative in music, resulting in compositions that resonate with a widerange of listeners.As a performer, Stevenson is quickly becoming a thrilling force in jazz, translating heritage and spirituality into an evolving andrelevant sound. With El Roi, he continues the journey he began with his debut album Faithful One, which saw each track serve aunique purpose within a larger conceptual narrative. Stevenson’s keen attention to musician selection, including his regularbandmates Jacob Gryn and Joel Waters, alongside collaborations with figures like Denys Baptiste, speaks to his commitment toboth personal and professional growth. His music is not only a reflection of his influences but also of his vision for what modernjazz can communicate to the world today.
Auf seinem neuen Album präsentiert der britische Multiinstrumentalist und Grammy-Gewinner Kaidi Tatham eine zukunftsorientierte und abwechslungsreiche Mischung aus eklektisch-elektronischem Jazz, in der Genres und Grenzen mit intergalaktischer Energie überschritten werden. Der heute in Belfast lebende Tatham ist seit Jahrzehnten eine innovative Kraft der britischen Black Music. Von den Anfängen als Broken Beat-Pionier (Bugz In The Attic) bis zum heutigen Keyplayer für DJ Jazzy Jeffs PLAYlist-Projekt inspirierte er weltweit Künstlerkollegen von Madlib bis Gilles Peterson und arbeitete u.a. mit Amy Winehouse, Mulatu Astatke, Soul II Soul, Leroy Burgess, Nubya Garcia, Slum Village, The Herbaliser und Marcos Valle zusammen. Als Featuregast dabei ist der fantastische MC Uhmeer (Jazzy Jeffs Sohn).
out of Stock
Last delivered 5 months ago available to reorder, subject to availability
A2: Little Jr. Jesse & The Tear Drops – Give Your Love To Me
A3: Tonettes – I Gotta Know
A4: Doc & Sal – Can't Get You Offa My Mind
A5: Commands – I've Got Love For My Baby
A6: Willie Cooper & The Webs – You Don't Love Nobody
A7: Little Jr. Jesse & The Tear Drops – Ain't No Big Thing
B1: Commands – No Time For You
B2: Webs – Little Girl Blue
B3: Tonettes – My Heart Can Feel The Pain
B4: Doc & Sal – Cry & Wonder Why
B5: Commands – Don't Be Afraid To Love Me
B6: Willie Cooper & The Webs – I Can't Take No More
B7: Don & The Doves – Together
C1: Webs – Don't Ever Hurt Me
C2: Commands – Must Be Alright
C3: Bobby Blackmon & The Soul Express – She's Gotta Have Soul
C4: Doc & Sal – Laughing To Keep From Crying
C5: Webs – Try Loving Me
C6: Commands – Too Late To Cry
C7: Doc & Sal – My Dream
D1: Little Jr. Jesse & The Tear Drops – If You Don't Love Me
D2: Webs – Can't Let You Go
D3: Commands – A Way To Love Me
D4: Little Jr. Jesse & The Tear Drops – It Keeps Rainin
D5: Don & The Doves – I Need You
D6: Bobby Blackmon & The Soul Express – You'll Find Another
D7: Commands – Around The Go-Go
NUM043LPC2 Numero Group2x12inch28.03.202528.MAR.25
Whipped up in the dust of Rene & Rene’s Tejano tornado “Angelito,” the Dynamic label was just one among San Antonio record and real estate mogul Abe Epstein’s enterprises. Dynamic’s flagship outfit, the Commands, marched “No Time For You” up to the middle of the charts in 1966 with performance chops honed jet-sharp by the demanding Air Force Base circuit. That take off paved a runway for 20 more soulful Dynamic singles over an impressive 30-month campaign. Epstein’s open-door policy brought a diverse cross-section of Texas talent into convergence within his General McMullan Drive studio, as whites, blacks, and Latinos alike suited up for service in whichever new group the call of duty called for. Epstein’s Alamo City melting pot is ladled out here in 21 (28 on the 2LP) of Dynamic’s most intriguing dishes by the Tonettes, Little Jr. Jesse & the Tear Drops, Don & the Doves, Willie Cooper & the Webs, Bobby Blackmon & His Soul Express, and Doc & Sal. Lone Star pic sleeves, full-color dancehall photography, and rich ephemera plant a new flag for soul in soil that’s seen its share of hoisted banners.
Fresh from the triumphant return of a successful domestic and international tour, Smif-N-Wessun's new album is a cumulative reflection of their life experiences. Executive produced by college professor and world-renowned producer 9th Wonder and the Soul Council, 9th explains the thought process with the album. “I wanted to make sure that it didn't sound dated. It sounds like them (Smif-N-Wessun), but it's also new. They are our generation's version of Thelonious Monk, Charlie Parker, Donald Byrd.”
Illustrious MCs featured on the album include Buckshot, Pharoahe Monch, Conway the Machine, legendary artists Sean Price and Prodigy, multi-platinum RnB legend Ralph Tresvant, along with rising stars Sweta and Jalisa. Scheduled for release January 10th, 2025, Infinity cements Smif-N-Wessun's status as creators of nothing but classics. This is their eighth album and the second collaboration with 9th Wonder and the Soul Council. Showcasing buttery beats from Council members, 9th Wonder himself, Khrysis, SND*TRK, Kash, Mu'aath, and Nottz, the album delivers a sonic smash that will satisfy everyone from the rap purist to new school connoisseurs.
Nach dem Erfolg von Deep Purple’s Nummer 1-Album "=1" im letzten Jahr meldet sich der legendäre Keyboarder Don Airey mit seinem neuen Soloalbum "Pushed to the Edge" zurück. Airey, der als der aktivste Musiker des Hard Rock gilt, hat auf über 300 Alben mit Künstlern wie Ozzy Osbourne, Rainbow, Whitesnake, Judas Priest, Gary Moore und Black Sabbath mitgewirkt. Unterstützt wird er von einer hochkarätigen Besetzung: Deep Purple-Gitarrist Simon McBride, Sänger Carl Sentance (Nazareth), Mitchel Emms (The Voice UK) und Bassist Dave Marks (Hans Zimmer Orchester). Ohne Tricks und Abkürzungen liefert das Album puren Hard Rock und zeigt einmal mehr, warum Don Airey zu den größten seiner Zunft gehört.
EBY is an acid house artist who has more than made his mark over the years. 40 years, to be exact, and to mark that rather notable occasion he is back with a special release on Foxbam Inc called ACID Thing and it comes in various different formats. This is a grey vinyl version that celebrates the classic acid sound while infusing it with a modern twist and plenty of big basslines, squelchy synths, and potent rhythms. The standout 'Acidanus' includes MC Soph who made her debut on Acid Indigestion Pt4 at just eight years old and now returns at 25. The EP also features a remix of 'Eggtrip' by renowned Belgian producer Outlander who you will likely remember from his iconic cut 'Vamp.'
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
The Jazz scene pays tribute to one of the greatest artist of all time. This time the IN JAZZ Collection focusses on Paul Mac Cartney with smooth jazz covers of some of the best titles composed by the great Macca !
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release
The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special
Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Originally released in 1971, produced by the legendary Sandy Roberton and featuring the likes of Richard & Danny Thompson, Keith Christmas and members of Mighty Baby & Fotheringay, the album has been talked about in glowing terms by an ever increasing fanbase over the years & is highly sought after. It’s a beautiful mixture of folk, psychedelic flourishes and adventurous production combining majestically with Shelagh’s exquisite songwriting and purity of voice. It will immediately appeal to fans of Pentangle, Incredible String Band and Joni Mitchell, as well as the solo records from members of some of the biggest U.S. bands of the 1970s; David Crosby’s ‘If Only I Could remember My Name’ and Gene Clark’s ‘No Other’, and is presented here for the first time ever on vinyl re-issue.
Born in Edinburgh in 1948 before moving to Glasgow and attending the Glasgow School of Art, Shelagh McDonald’s reputation grew rapidly on the London and Bristol folk circuit, gaining a cult following. In her early twenties she cut her first album titled simply ‘Shelagh McDonald’, the following year entering the studio with producer Sandy Roberton (Ian Matthews, John Martyn, Chocolate Watch Band, Steeleye Span) to cut ‘Stargazer’. Unfortunately for Shelagh, following a bad LSD experience, she withdrew from not only the music industry but public life shortly before commencing work on her third album.
However, it is ‘Stargazer’ that continues to grow its reputation, with original copies changing hands for hundreds of pounds.
Imbued with the finest instrumentation and vocal delicacy in late ‘60s folk, the record is heightened by a progressive production approach; the slow organ grooviness in the traditional ‘Dowie Dens of Yarrow’, uplifting gospel overtones of ‘Odyssey’ and the perfect match of melancholic piano and haunting strings by Robert Kirby on the title track. These sublime arrangements all serve Shelagh’s songwriting and soulful voice that invoke the finest folk traditions but at the same time look forward.
The album is the inaugural release on new label Different Strokes For Different Folks with more genre bending, rare and cult records scheduled for 2025.
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Founded by Robbie Redway and psychedelic researchers Mathieu Seynaeve and WaiFung Tsang, UK-based 'United Freedom Collective' has grown into a network of artists including Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul. Originally conceived around psychedelic therapy sessions, online yoga and breathwork channels, the musical scope has expanded on each of the four EPs released on Maribou State's 'Dama Dama' label, and here continues with their debut on Multi Culti. This time Robbie takes the lead on production and sole vocal duties on all five tracks, presenting a range of influences and style. Lead single 'Between Memories' blends tropes of ecstatic dance with uplifting vocal piano house, somehow making flutes fit in with Detroit strings to epic, hands-in-the-air effect.' Title track ‘Bright Patterns’ bridges the gap between Jungle, Jai Paul, and Jamiroquai, a fusion of funky filtered disco-house and electroclash with side-chained pop vocal hooks. ’El Yo’ smooths things out, a dope, laid back groove with a measured reflection on psychedelic healing and the perils of spiritual bypassing. ‘Higher Drums’ warms things back up for the dancefloor with trumpet, afro-latin percussion, and flute flourishes. Finally, ‘Moonshine’ is a soaring, Amapiano-inflected post-desert-house ballad. Influenced, in their words, 'by birds, trees, Buddhism, yoga, headless way meditations, Jungian analysis, Zen Taoism, Chinese plant medicines, indigeneity, Amazonian and psychedelic cultures, icaros and world healing traditions,' the music is eclectic, ranging from afro-inspired jazz to Chinese folk, psych-rock to dub and dance music, an ambitious and inclusive range, collabs that extend well beyond the borders of western musical traditions. Their sound was described by Clash Magazine as an 'aural mosaic that glitters with colour and potential,' and while the sheen of the production and precision of the arrangements might seem a departure from Multi Culti's left-field endeavours, the psychedelic idealism and global connectivity make it a natural fit with the open-ended ethos of the label. Having already had radio support from KEXP, BBC6 Music (Laverne, Ravenscroft, Charles, Nemone, Letts), Jazz FM and Worldwide FM (Gilles Peterson), with a live show that sold out Dalston Curve Garde and The Waiting Room as well as supporting Maribou State for their recent comeback show at Islington Assembly Hall in London the collective's future is looking exceptionally bright.
out of Stock
Last delivered 16 months ago available to reorder, subject to availability
Iconic British band McFly are celebrating their 21st anniversary with the
release of a special live album, marking over two decades of musical success
This landmark release, recorded at the McFly 21 Show at the London O2 Arena, parts
of which was recently broadcast on ITV, offers fans a unique opportunity to
experience the band's journey through their most beloved songs.
The album serves as a time capsule of McFly's evolution, blending their infectious
pop-rock sound with deeper, more mature moments. The tracklisting is packed with
crowd favourites, from early hits like "I Wanna Hold You" and "Bubblewrap" to later
tracks such as "Shine A Light" and "The Heart Never Lies." The band's musical range is
on full display, with upbeat tracks like "Broccoli" and "Party Girl," as well as
introspective songs like "Memory Lane" and "Forever's Not Enough." The anniversary
collection also includes the powerful "Transylvania" and fan-favourites like "Red" and
"I've Got You," showcasing McFly's versatility and timeless appeal.
The ITV broadcast and physical release offer an opportunity for fans to relive McFly's
greatest moments, both on stage and in the studio. This anniversary album is a
celebration of McFly's lasting legacy and their continued relevance in the pop music
world. With an impressive tracklist and the stunning ITV broadcast, this milestone
release is not to be missed.
Released in 1990, Permanent Damage is the fifth and final studio album by British alternative rock band The Icicle Works. Fronted by Ian McNabb, the album features the band’s signature blend of melodic songwriting and energetic rock. Tracks like "Motorcycle Rider" and "Melanie Still Hurts" highlight McNabb's evocative lyrics and strong vocal delivery, making the album a memorable conclusion to their career. Permanent Damage reflects the band's ability to evolve while staying true to their alternative rock roots. Although it marked the end of The Icicle Works' original run, the album holds a special place in the hearts of fans for its emotional depth and musical craftsmanship. For those exploring the band’s discography, Permanent Damage serves as a poignant farewell from one of Britain’s cherished alternative rock groups. Permanent Damage is available as a limited edition of 500 copies on translucent yellow coloured vinyl.
Zur Feier des 50. Jubiläums von Venus and Mars wurde diese spezielle Vinyl-Edition mit halber Geschwindigkeit
geschnitten, wobei Miles Showell in den legendären Abbey Road Studios die Original-Masterbänder von
1975 in hoher Auflösung übertrug. Das Album ist eine sorgfältige Reproduktion der Originalpressung in
Großbritannien, mit Nachbildungen des originalen runden Aufklebers „Venus and Mars are alright tonight“
und des Lesezeichenaufklebers „comparative sizes of sun and planets“ und wird mit zwei Postern mit Fotografien von Aubrey Powell und Sylvia de Swaan geliefert. Das ikonische Album-Artwork von Hipgnosis
wurde sorgfältig nachgebildet und in einer Klapphülle präsentiert.
Jetzt gibt es endlich das Debutalbum "Rapper's Delight" der Ausnahmeproduzentin Melbeatz. Obwohl Optik's First Lady bis jetzt noch keinen eigenen Release veröffentlicht hat, wählten sie die JUICE Leser zwei Jahre in Folge auf Platz 1 (2004) und Platz 2 (2003) in der Kategorie "Best Producer". Kein Wunder, da sie ja unter anderem das Top 10 Album "Der Beste Tag Meines Lebens" von Kool Savas komplett alleine produzierte.
"Rapper's Delight" sollte eigentlich ihre erste eigenständige Eintrittskarte für den deutschen Markt werden, möglicherweise beinhaltet es aber bereits das Ticket bis in die USA. Der internationalen Qualität ihrer Produktionen wegen genauso, wie dank der Unzahl höchst prominenter Gastfeatures: Kanye West (verantwortlich für diverse US-Billboard-No.1´s), Mobb Deep, die Alkoholiks, Ol´ Dirty Bastard oder Thirstin Howl (um nur einige zu nennen) haben sich alle einen höchst eigenständigen Beat der Künstlerin gepickt. Hochkarätige deutsche Gäste wie Xavier Naidoo, Curse, Cassandra Steen (Glashaus), Eizi Eiz (Beginner), Mieze von Mia, die komplette Optik Army und nicht zuletzt die lang antizipierte Berlin-Hamburg-Kollabo Kool Savas-Samy Deluxe machen das Line Up komplett.
Das Londoner Ska-Punk-Pop-Indie-Quartett Buster Shuffle kommt mit brandneuem Album zurück, welches am 21. März 2025 erscheinen wird. Das elf Tracks umfassende Album "Together" ist ihr sechstes Studioalbum und verspricht, ihr bisher größtes zu werden, randvoll mit eingängigen Singalongs die garantiert für Aufsehen sorgen und Mitsingen animieren. Sänger & Frontmann Jet sagt: "Unsere Fans, die Shuffle Army, bedeuten uns alles und haben uns vom ersten Tag an unterstützt, also wollten wir ein Album schreiben, auf dem wir zusammenkommen und uns die Seele aus dem Leib singen können. Wir freuen uns riesig darauf, diese Songs zu präsentieren". Die Platte wird einige Überraschungen bereithalten, so z.B. als Jet und die Jungs es schafften, eine 2000-köpfige Menge dazu zu bringen, die Hookline für den Track 'Take a Pill' einzusingen. Ein Lied über den Zusammenhalt und das Navigieren durch eine schwere Zeit: "Die Zeiten sind im Moment für viele Leute wirklich hart, also müssen wir aufeinander aufpassen. Frag deinen Kumpel, deinen Partner, deine Liebsten, wie es ihnen geht, lege deinen Arm um sie, melde dich. Das Ethos dieses Albums ist es, offen zu reden, sich gegenseitig zu unterstützen und zusammenzukommen." Die Jungs veröffentlichen "Together" auf ihrem eigenen Label Do Nothing Records, und wie ihre vorherige Veröffentlichung "Go Steady" wurde auch diese von der Band selbst produziert. Zur Feier der Veröffentlichung dieses "We're In This Together"-Albums wird die Band vier große Städte mit vier Album Launch Shows bespielen, die ihre bisher größten Shows im jeweiligen Land sein werden. "Together" kommt als CD, MC & LP, Vinyl in unterschiedlichen Farben und Sleeve-Artworks erhältlich!
Das Londoner Ska-Punk-Pop-Indie-Quartett Buster Shuffle kommt mit brandneuem Album zurück, welches am 21. März 2025 erscheinen wird. Das elf Tracks umfassende Album "Together" ist ihr sechstes Studioalbum und verspricht, ihr bisher größtes zu werden, randvoll mit eingängigen Singalongs die garantiert für Aufsehen sorgen und Mitsingen animieren. Sänger & Frontmann Jet sagt: "Unsere Fans, die Shuffle Army, bedeuten uns alles und haben uns vom ersten Tag an unterstützt, also wollten wir ein Album schreiben, auf dem wir zusammenkommen und uns die Seele aus dem Leib singen können. Wir freuen uns riesig darauf, diese Songs zu präsentieren". Die Platte wird einige Überraschungen bereithalten, so z.B. als Jet und die Jungs es schafften, eine 2000-köpfige Menge dazu zu bringen, die Hookline für den Track 'Take a Pill' einzusingen. Ein Lied über den Zusammenhalt und das Navigieren durch eine schwere Zeit: "Die Zeiten sind im Moment für viele Leute wirklich hart, also müssen wir aufeinander aufpassen. Frag deinen Kumpel, deinen Partner, deine Liebsten, wie es ihnen geht, lege deinen Arm um sie, melde dich. Das Ethos dieses Albums ist es, offen zu reden, sich gegenseitig zu unterstützen und zusammenzukommen." Die Jungs veröffentlichen "Together" auf ihrem eigenen Label Do Nothing Records, und wie ihre vorherige Veröffentlichung "Go Steady" wurde auch diese von der Band selbst produziert. Zur Feier der Veröffentlichung dieses "We're In This Together"-Albums wird die Band vier große Städte mit vier Album Launch Shows bespielen, die ihre bisher größten Shows im jeweiligen Land sein werden. "Together" kommt als CD, MC & LP, Vinyl in unterschiedlichen Farben und Sleeve-Artworks erhältlich!
Das Londoner Ska-Punk-Pop-Indie-Quartett Buster Shuffle kommt mit brandneuem Album zurück, welches am 21. März 2025 erscheinen wird. Das elf Tracks umfassende Album "Together" ist ihr sechstes Studioalbum und verspricht, ihr bisher größtes zu werden, randvoll mit eingängigen Singalongs die garantiert für Aufsehen sorgen und Mitsingen animieren. Sänger & Frontmann Jet sagt: "Unsere Fans, die Shuffle Army, bedeuten uns alles und haben uns vom ersten Tag an unterstützt, also wollten wir ein Album schreiben, auf dem wir zusammenkommen und uns die Seele aus dem Leib singen können. Wir freuen uns riesig darauf, diese Songs zu präsentieren". Die Platte wird einige Überraschungen bereithalten, so z.B. als Jet und die Jungs es schafften, eine 2000-köpfige Menge dazu zu bringen, die Hookline für den Track 'Take a Pill' einzusingen. Ein Lied über den Zusammenhalt und das Navigieren durch eine schwere Zeit: "Die Zeiten sind im Moment für viele Leute wirklich hart, also müssen wir aufeinander aufpassen. Frag deinen Kumpel, deinen Partner, deine Liebsten, wie es ihnen geht, lege deinen Arm um sie, melde dich. Das Ethos dieses Albums ist es, offen zu reden, sich gegenseitig zu unterstützen und zusammenzukommen." Die Jungs veröffentlichen "Together" auf ihrem eigenen Label Do Nothing Records, und wie ihre vorherige Veröffentlichung "Go Steady" wurde auch diese von der Band selbst produziert. Zur Feier der Veröffentlichung dieses "We're In This Together"-Albums wird die Band vier große Städte mit vier Album Launch Shows bespielen, die ihre bisher größten Shows im jeweiligen Land sein werden. "Together" kommt als CD, MC & LP, Vinyl in unterschiedlichen Farben und Sleeve-Artworks erhältlich!
Das Londoner Ska-Punk-Pop-Indie-Quartett Buster Shuffle kommt mit brandneuem Album zurück, welches am 21. März 2025 erscheinen wird. Das elf Tracks umfassende Album "Together" ist ihr sechstes Studioalbum und verspricht, ihr bisher größtes zu werden, randvoll mit eingängigen Singalongs die garantiert für Aufsehen sorgen und Mitsingen animieren. Sänger & Frontmann Jet sagt: "Unsere Fans, die Shuffle Army, bedeuten uns alles und haben uns vom ersten Tag an unterstützt, also wollten wir ein Album schreiben, auf dem wir zusammenkommen und uns die Seele aus dem Leib singen können. Wir freuen uns riesig darauf, diese Songs zu präsentieren". Die Platte wird einige Überraschungen bereithalten, so z.B. als Jet und die Jungs es schafften, eine 2000-köpfige Menge dazu zu bringen, die Hookline für den Track 'Take a Pill' einzusingen. Ein Lied über den Zusammenhalt und das Navigieren durch eine schwere Zeit: "Die Zeiten sind im Moment für viele Leute wirklich hart, also müssen wir aufeinander aufpassen. Frag deinen Kumpel, deinen Partner, deine Liebsten, wie es ihnen geht, lege deinen Arm um sie, melde dich. Das Ethos dieses Albums ist es, offen zu reden, sich gegenseitig zu unterstützen und zusammenzukommen." Die Jungs veröffentlichen "Together" auf ihrem eigenen Label Do Nothing Records, und wie ihre vorherige Veröffentlichung "Go Steady" wurde auch diese von der Band selbst produziert. Zur Feier der Veröffentlichung dieses "We're In This Together"-Albums wird die Band vier große Städte mit vier Album Launch Shows bespielen, die ihre bisher größten Shows im jeweiligen Land sein werden. "Together" kommt als CD, MC & LP, Vinyl in unterschiedlichen Farben und Sleeve-Artworks erhältlich!
Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?
You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.
On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.
The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.
Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.
So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:
I don’t wanna be made to see
I just wanna ask “what’s that?”
Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.
Lay in bed alone at night and ask aloud to the stillness,
“What were you doing at the Albuquerque Airport?
What were you doing there??”
And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.
Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.
With their debut album Channels on !K7 Records, Kassian (Joe Danvers-McCabe and Warren Cummings) have come full circle, focusing on the warmer, sample-based, and house-inspired sonics that brought them together. Kassian periodically revisited these initial pieces throughout the last five years until they felt able to journey deeper, using their rapidly developing craft and refined production techniques to build a debut album that momentarily steps away from some of their more club-focused excursions. “As we were writing, we realized that all the tracks had the unique potential to tell a story,” reflects Cummings, with Channels leading the listener through a series of different atmospheres and emotional terrains.
Essential to Channels is Kassian’s focus on time’s ability to reorient human perspective. Kassian worked on the album over an extended period, with instrumentation, field recordings, and percussion first constructed and then subsequently stripped away and refined.
Channels contains their early love of tube warm, sample based sounds and live instrumentation as the foundation for this album. The working process for these rippling pieces used both sequenced workflow and improvisational arrangement, live instrumentation inspired by an array of deeper emotional content. Both members of Kassian experienced great personal loss during the period of making this album, and a tenderness is felt throughout the record.
This record is an earthy thing, its naturalistic track names evoking recognisable and cyclically familiar moments, Kassian have provided a map for the listener at the forefronts of their minds. Channels features Ezra Collective’s Joe Armon-Jones on keys, and Timothy Kraemer on cello distilling this body of work into a deep stream between the organic and improvised, and the sequenced and planned.
out of Stock
Last delivered 16 months ago available to reorder, subject to availability
"Black & White Movie" ist das bemerkenswert souveräne Debütalbum von Gustaffson, produziert von Craig Potter (Elbow). Die Platte enthält mitreissende Streicharrangements des preisgekrönten Filmkomponisten Bear McCreary (Outlander, The Walking Dead) und einen Cameo-Auftritt des legendären Schauspielers Sir Ben Kingsley. Die 13 Albumsongs sind individuelle Kinoerlebnisse. Die ergreifenden Texte des Leadsängers und Songwriters Andrew Gower, die er in 15 Jahren als Schauspieler perfektioniert hat, werfen Licht und Schatten auf die Dualität der menschlichen Existenz und erzählen aussergewöhnliche Geschichten aus gewöhnlichen Leben. Das Album vermischt nahtlos die klassischen Klänge der Musik- und Filmwelt und lädt die Zuhörer auf eine Reise ein, bei der jeder Titel ein Film für sich ist.
"Mein Leben als Teenager hat sich für immer verändert, als ich das 'White Album' der Beatles entdeckte. Es war die erste Platte, die es mir als Zuhörer ermöglichte, nuancierte Texte und Musik in ihrer besten Form zu entdecken", erklärt Gower. "Im Studio konzentrierten wir uns alle auf die Bedeutung und Verantwortung, die wir haben, die Geschichten zu erzählen, ohne das Publikum mit dem Löffel zu füttern."
Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.
Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.
By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.
The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”
But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
Francesco Sotgiu has forged a unique and very swinging project of songs. With a quintet consisting of Luigi Bonafede on piano, Emanuele Cisi and Riccardo Luppi on woodwinds, Salvatore Maiore on bass, Francesco on drums, and with special guest Paolo Fresu on trumpet to cap off this heartfelt collection. There is also a nice diversity of groups within this larger collection. A nice trio piece called “Calm” featuring Paolo Birro sitting in with Marco Micheli and Francesco. And one called “Lotus Blossom” where Francesco shows his considerable skills and soul on violin. But the bulk of the material is straight-ahead jazz and is totally swinging and soulful, proving that jazz has no borders and is a worldwide language to which Francesco has added to that tradition with this project and all the great voices he has included here. Bravo maestro.
This is the comment of Gil Goldstein, American accordion player who won 5 Grammys and collaborated with giants such as Gil Evans, Wayne Shorter, and Michel Petrucciani.
This record was recorded in the middle of the pandemic times, and most of the work for preparing this record took place via the telephone: the selection of the songs on paper, the exchange of ideas on arrangements, staff and instruments, a sort of “phone rehearsal” of the structure of the songs, with the choice of a solo; everything else, everything that will happen in the recording sessions, is the result of a controlled improvisation, a jam session masterfully captured in the studio through the use of well-positioned ribbon microphones.
This is why “Passing,” literally “passing” or “crossing”: because the musicians have gone through listening to these songs as teenagers, and find themselves today, as a mature meeting of old friends who create an informal game made of nostalgic fun, great personality, confrontation, and deep spirituality. In the classic “Caravan” by Ellington and Tizol or “Afro Blue” by Mongo Santamaria, Coltrane toning, the Latin accent of the rhythm section supports the interpretation of the theme and the interplay in the solos between the soprano and tenor saxophones by Cisi & Luppi, and the piano by Bonafede.
A certain elegance in the execution distinguishes pieces such as Duke Ellington’s “Sound of Love,” yet another tribute by Mingus to the Duke, with a calibrated solo on the double bass of Maiore and the flute by Luppi, the immortal “Take Five” by Paul Desmond, with the highlighted soprano by Cisi, “Wishes,” “7th Street,” and the eponymous “Passing,” all pieces composed by Sotgiu, characterized by the precise medium/fast drive of the drums and a certain “cinematic” taste of the main themes.
In songs such as “Black Bats and Poles,” composed by trumpeter Jack Walrath for the Mingus Orchestra, and in “Stranatole,” an original piece in which Sotgiu writes a theme of Monk’s influence and enjoys overturning the traditional “Anatole Jazz” structure, the quintet opts for an effective hard bop language, with exciting moments of dazzling virtuosity in Bonafede’s solo. While in Coltrane’s “Wise One” and McCoy Tyner’s “Ballad for Aisha,” we enter a modal, mystical, and ceremonial jazz, of a cosmic depth, which seems to hover in the sweet volume of the great hall of the recording studio. These are truly magnificent interpretations.
A special separate mention for two classics such as “My Foolish Heart” by Victor Young, performed in trio by Sotgiu, Maiore, and the unmistakable trumpet by Paolo Fresu, and the (unfortunately very short) “Lotus Blossom” by Billy Strayhorn and Duke Ellington, which in the piano-violin duo of Birro and Sotgiu, in a minute gives a suspended momentary magic, sums up the roots of African-American jazz music, and also referencing an old-fashioned Italian musical sensitivity, typical of Nino Rota’s music for Federico Fellini’s films.
Divergence and Declaration is the second album by San Francisco Bay Area Darkwave duo Vague Lanes. The album features their signature two-bass configuration, with Mike Cadoo (Gridlock) handling the melodic six-string duties. At the same time, Badger McInnes (Here We Burn) propels the music forward with his low-end four-string.
The album opener, "Heptahedron", also features drums by Martin Atkins (P.I.L., Ministry, Killing Joke). The album's title eludes to the refinement and solidification of Vague Lane's manifesto, and by utilizing a more expanded pallet than their debut album Foundation and Divergence, the duo displays confidence in their creative trajectory and the overall substance of their musical voice.
Don McLean's The Western Album is a 1973 release blends folk, rock, and country influences. The album features McLean's storytelling style, exploring themes like love, loss, and Americana, with a focus on Western imagery. It includes tracks like "The Good Old American Dream" and "The Legend of Andrew McCrew. The Western album remains notable for its introspective lyrics and rich sound.
Welcome to KOKO, Lottery Winners’ most adventurous album, while also home to their most infectious songs yet. Having played to over half-a-million people at their shows in 2024 alone, it’s a captivating album which will only see that fanbase continue to grow.Short for Keep On Keeping On, KOKO’s 12 tracks include a beautiful ode to friendship, a deliriously catchy duet with Reverend And The Makers’ Jon McClure about being unhealthily obsessed with your ex, a literally escapist chantalong funk anthem, a power ballad featuring Nickelback’s Chad Kroeger, a tender song of regret, plus the most uplifting, celebratory songs about panic attacks, ADHD and being expelled from school you’ll ever hear. There’s even a dance routine. Following on from The Lottery Winners’ third album ART (Anxiety Replacement Therapy) reached No 1 in May 2023. This is set to be another big release.
To celebrate the 50th anniversary of Venus and Mars, this special vinyl edition was cut at half speed using a high-resolution transfer of the original master tapes from 1975 by Miles Showell at the legendary Abbey Road Studios. The album is presented as a meticulous reproduction of the original UK pressing, with recreations of the original “Venus and Mars are alright tonight” circular sticker and “comparative sizes of sun and planets” bookmark sticker, and comes with two posters with photography by Aubrey Powell and Sylvia de Swaan. The iconic album artwork by Hipgnosis has been meticulously recreated and presented in a gatefold sleeve.
It has been over a decade since Anthony Mills created Wildcookie, his most celebrated project. With tracks like Heroine and Serious Drug, the album Cookie Dough gained worldwide recognition, landing on numerous radio playlists, including Gilles Peterson’s show. Even after all these years, it remains a favorite on streaming platforms. Now, fourteen years later, Mills returns, teaming up with Marek “Latarnik” Pędziwiatr to create Crack Rock—a bold evolution of Wildcookie’s legacy.
While Wildcookie’s signature warm, jazzy Fender Rhodes sound defined its identity, Crack Rock shifts toward 1980s-inspired compositions crafted by Pędziwiatr, known for his work with EABS, Błoto, and Zima Stulecia. The duo explored yacht rock, drawing inspiration from Fleetwood Mac and Michael McDonald, maintaining the genre’s clean vocals and catchy melodies. However, their experimental spirit pushed the sound further, distorting the polished yacht rock aesthetic—leading to Crack Rock, a clever wordplay reflecting both the music and its themes.
Anthony Mills is known for layered wordplay, and the album’s name nods to deeper personal struggles. “I listened to the song Crack on repeat—it brought me to tears. Growing up in the crack era was painful. The PTSD I endured is now a powerful source of inspiration.” This raw emotional backdrop adds an edge to Crack Rock’s themes of love and human relationships—what Mills calls “cold love”: alluring, grand, yet ultimately destructive. Like an addiction, you keep coming back for more.
This idea of addiction shapes the duo’s sonic exploration—beneath the catchy melodies lie deeper, pain-laden themes wrapped in metaphor. “I see this album as therapy, a testament to the magic we create in the studio,” says Pędziwiatr. “Our process is a mix of musical mastery and deep conversations about life. For me, it feels like soul cleansing.
"Chicago became a center for electric blues from 1948 on, when Muddy Waters recorded his first success: ""I Can't Be Satisfied."" But Waters, born McKinley Morganfield was more than a pioneer in the Chicago electric blues scene. He was a great singer of American vernacular music - a vocal artist of astonishing power, range, depth, and subtlety. Presented here is his complete LP The Best of Muddy Waters, a greatest hits album released by Chess Records in April
1958. The twelve songs were originally issued as singles between 1948 and 1954 and most appeared in Billboard magazine's top 10 Rhythm & Blues Records charts.
THE COMPLETE ALBUM +
4
BONUS TRACKS - 180-GRAM VIRGIN VINYL - LIMITED EDITION"
Das Londoner Ska-Punk-Pop-Indie-Quartett Buster Shuffle kommt mit brandneuem Album zurück, welches am 21. März 2025 erscheinen wird. Das elf Tracks umfassende Album "Together" ist ihr sechstes Studioalbum und verspricht, ihr bisher größtes zu werden, randvoll mit eingängigen Singalongs die garantiert für Aufsehen sorgen und Mitsingen animieren. Sänger & Frontmann Jet sagt: "Unsere Fans, die Shuffle Army, bedeuten uns alles und haben uns vom ersten Tag an unterstützt, also wollten wir ein Album schreiben, auf dem wir zusammenkommen und uns die Seele aus dem Leib singen können. Wir freuen uns riesig darauf, diese Songs zu präsentieren". Die Platte wird einige Überraschungen bereithalten, so z.B. als Jet und die Jungs es schafften, eine 2000-köpfige Menge dazu zu bringen, die Hookline für den Track 'Take a Pill' einzusingen. Ein Lied über den Zusammenhalt und das Navigieren durch eine schwere Zeit: "Die Zeiten sind im Moment für viele Leute wirklich hart, also müssen wir aufeinander aufpassen. Frag deinen Kumpel, deinen Partner, deine Liebsten, wie es ihnen geht, lege deinen Arm um sie, melde dich. Das Ethos dieses Albums ist es, offen zu reden, sich gegenseitig zu unterstützen und zusammenzukommen." Die Jungs veröffentlichen "Together" auf ihrem eigenen Label Do Nothing Records, und wie ihre vorherige Veröffentlichung "Go Steady" wurde auch diese von der Band selbst produziert. Zur Feier der Veröffentlichung dieses "We're In This Together"-Albums wird die Band vier große Städte mit vier Album Launch Shows bespielen, die ihre bisher größten Shows im jeweiligen Land sein werden. "Together" kommt als CD, MC & LP, Vinyl in unterschiedlichen Farben und Sleeve-Artworks erhältlich!
This anthology follows Now-Again's Loving On The Flipside, issued more than a decade ago. And that anthology itself got its start in a different time, a decade even earlier - the era in which Now-Again's Egon and his friends chased down funk 45s and the odd LP for their testosterone riddled, aggressive sound. Often times the funk song on one of their chosen is would be the throw-away b-side, the hasty afterthought the band cobbled together the night before hitting - or while in - the studio because they'd put all of their energies into writing the amazing ballad that would ensure their entry in soul's history books. Every once in a while, that funk song they coveted could have been - in an alternate universe - a ballad. The Third Guitar's "Baby Don't Cry," El Pooks* "I Could Do The Impossible" and Spider Harrison's "Beautiful Day" all fit into this category. That realization notwithstanding, more often than not they shined over the ballads to get to the tough stuff. Then they started flipping those funk records over to find some loving on the flip side. Some marvellous tunes were there to be found. This is the long awaited follow up. Contained within this anthology are some of the greatest soul ballads that go sweet with a beat - or, to follow our tagline, epitomize "sweet funk." Most of these songs have never been compiled. Some have never been issued in any form. Some, like the Ledgends entry here, were sampled to great success (in that case for Freddie Gibbs and Madlib's "Deeper"). Some haven't been sampled, but, like Herb Johnson's entry, are patiently awaiting their day. It should go without saying that we're proud to present this music in good conscience; with the full participation of everyone but the most obscure names contained within. And, for those who we've not yet been able to contact, this is our message: We've found your brethren, we've placed them beside you on an album that we hope you feel is befitting of your collective contributions to soul music and now we're just waiting for you. Though the music you recorded is from the years past, vour time is now.
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Soul Jazz Records" Studio One Showcase 45 features a roll call of classic Studio One reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The Wailers, Jackie Mittoo, The Heptones, The Skatalites and more - seminal reggae artists who all launched their careers at the legendary Studio One label. The album was previously only ever released as a long-deleted limited-edition seven-inch box set for Record Store Day. This album has now been expanded into a super double-vinyl album edition as well as first time on CD, with both featuring a massive eight bonus tracks of wicked Studio One classics and rarities.
out of Stock
Last delivered 15 months ago available to reorder, subject to availability
After many years of artistic collaboration, the long-awaited album, KILLING TIME, bringing together London-based MC Killa P and Italian Bass music collective Numa Crew, has finally arrived.
Killa P, a name synonymous with potent lyricism and raw energy in the Grime scene, delivers a vocal masterclass throughout his debut long-player, soundtracked by the stellar production of the Numa Crew. Together they expertly navigate genres including dubstep, grime, dub, and jungle, while maintaining a distinct and cohesive musical identity.
Not simply a collection of individual tracks, Killing Time is a meticulously crafted journey through sound system music. There are no stylistic boundaries, as the long-player encompasses the entire musical spectrum that unites the Italian crew with the London-based MC, with Killa P free to showcase his evolution as an artist. Alongside them, the album also brings together a diverse cast of friends and collaborators, vocalists, and producers, each adding their own unique flavor.
From the pulsating dubstep-infused Boys in Blue, a searing commentary on social inequality, to the reggae-tinged steppa tune Love Inna We Heart featuring Charlie P and Long Range, a plea for unity and love, Killa P's lyrical dexterity shines.
Tracks such as Champion Sound, Badman City Pt.2 featuring the French Ragga legend Big Red, and No Laugh featuring Big Chain and Bristol’s Buggsy are a nod to Killa P's roots, beautifully showcasing his mastery of grime's signature sound, while the sped-up tempos of the Fleck collaboration Jungle Leng, and Can't Get Me Down featuring Ras Demo, inject a jolt of Junglist attitude. Different Life is a vibrant ‘carnival’ jam, that infuses grime and dancehall moods and sees the great Lady Lykez on the second verse.
The album wraps on a contemplative note with Dreaming, a collaboration with Abstract Sonance, and Heartless, featuring Killa’s son GK on production, revealing an introspective note that adds yet more depth to Killa P's artistry.
As the album’s second track, Family, proclaims: ‘man a deal with family, not friends’ - a fitting line to define the album as a whole… An ode to the unity and strength of family.
out of Stock
Last delivered 62 days ago available to reorder, subject to availability
JP’s historic restoration carpentry has continued to be a baseline for his relationship to music; the yin to his yang, the Burt to his Ernie, the Dolly to his Porter. It was through this concurrent line of work that he met another twice-initialed singer with a penchant for old Americana music, obscure film, and overly elaborate ethnic meal preparations: one JD McPherson. The two became fast friends and would eventually, through many twists, turns, false starts, and biblically-proportionate plagues, enter a modest studio in Nashville to record Harris’ latest album.
Over the course of nine months in 2023, they recorded a sometimes lush, sometimes sparse, and sometimes jarring country album of Harris’ originals, loudly and violently squelching any attempt to pigeon-hole a song into any subgenre of country music. Only albums by Lee Hazelwood and an obscure folk album Waylon Jennings made when his hair was still short were allowed to be mentioned in reference. Featuring the guest vocals of Erin Rae, The Watson Twins, Shovels & Rope, and producer JD McPherson himself, the record is equal parts satire, reflection, and apology to those that would listen.
In a musical landscape of period-correct reproduction, “outlaw” internet posturing, and flavor-of-the-month variants on country,
“JP Harris Is A Trash Fire” burns bright as a dumpster in a Walmart parking lot on a moonless night; some will fear it, some will gravitate to its acrid warmth, and most will have no idea what to make of the situation. Harris has been steadily elbowing the definitive boundaries of “country music” wider with every album, both sonically and lyrically, and his latest piece of self described “Avant-Country” is no exception.
Simon McBride hat sich in kürzester Zeit zu einem der gefeiertsten Gitarristen der letzten Jahre entwickelt. 2023 trat er als neuer Gitarrist von Deep Purple ins Rampenlicht und machte damit einen Schritt, der wie aus einem Rock’n’Roll-Märchen klingt: von den kleinen Bühnen der Pubs in seiner Heimat Belfast zu den größten Arenen der Welt. Innerhalb weniger Wochen zierte er die Cover von über 20 renommierten Musikmagazinen und feierte im letzten Jahr mit Deep Purple seine erste Nummer-1-Platzierung in den deutschen Albumcharts. Mit makelloser Performance und außergewöhnlicher Produktionsqualität ist diese Sammlung seltener Tracks ein Muss für alle Rock-Enthusiasten. Für Fans, die McBrides Stil und Persönlichkeit bei Deep Purple schätzen, bietet dieses Album einen aufregenden Einblick in seine Vielseitigkeit und musikalische Brillanz
"Supplicium" represents a perfect balance between tradition and modernity. On one hand, the lyrical concept and epic atmospheres transport the listener to the age of the Roman Empire, evoking visions of triumphant marches and blood-soaked arenas. On the other hand, the sound becomes increasingly technical and refined, with tight riffs, relentless rhythmic sections, and flawless production that enhances every detail. The album, crafted with meticulous care, succeeds in combining the brutality of death metal with highly complex instrumental passages, showcasing a band in constant evolution. With "Supplicium", ADE reaffirm their role as champions of a death metal where historical tradition and modern sound coexist, creating an experience that is both ferocious and captivating.
Of all the artists who recorded for the Black Jazz label, keyboardist and composer Doug Carn was the most prolific, releasing four albums for the imprint. 1972’s Spirit of the New Land was his second Black Jazz release, but the first one (of two) to co-feature his wife, vocalist Jean Carn. It’s the most collectible of the bunch, showcasing Carn’s innovative approach of adding lyrics to jazz standards like Miles Davis’ “Blue in Green” and Lee Morgan’s “Search for the New Land,” while originals like “Arise and Shine” and “My Spirit” soar with spiritual fervor on the wings of his wife’s five-octave range.
Along for the ride are a stellar cast of players, including trumpeter Charles Tolliver, co-founder of the Strata-East label; saxophonist George Harper, who played with Herbie Hancock and Jimmy Smith among others; trombonist Garnett Brown, who appears on albums by Roland Kirk, Albert Ayler, and Art Blakey among his hundreds of album credits; tuba player Earl McIntyre, whose discography spans from Carla Bley to the Band; and drummer Alphonse Mouzon, founding member of Weather Report. This beautiful, uplifting album also comes with liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that feature excerpts from a freewheeling interview conducted with Doug Carn himself. Pressed in blue with black swirl vinyl limited to 750 copies!
The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.
But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!
The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.
But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!
"Invisible Threads" is a sonic assault that penetrates the darkest depths of existence. This album explores themes of human degradation, unspoken fears, and wars that ravage not only bodies but also minds. A fierce manifestation of death metal, "Invisible Threads" overwhelms the listener with a crescendo of sonic brutality and raw emotions_an unrelenting frontal impact from the first to the last track, destined to leave a lasting mark.
Gold vinyl. Building on the momentum of their debut, Shooting Star returned in 1981 with Hang On for Your Life, a dynamic follow-up that further cemented their place in the AOR rock scene. The album delivered a mix of anthemic rock and melodic hooks, with standout tracks like "Hang On for Your Life," "Hollywood," "Breakout," and "Are You on My Side" all receiving steady radio airplay. One of the album's most unique moments came with "Flesh and Blood," an up-tempo rock song featuring a soaring violin solo_a rarity in the genre that highlighted the band's signature sound. While the record found success on rock stations, it also marked the end of an era, as founding keyboardist Bill Guffey departed the band following its release. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still at the helm, Hang On for Your Life captured Shooting Star at their peak_an ambitious, hard-driving rock band with a sound that was both melodic and powerful.
White/Gold Sunburst Vinyl. Building on the momentum of their debut, Shooting Star returned in 1981 with Hang On for Your Life, a dynamic follow-up that further cemented their place in the AOR rock scene. The album delivered a mix of anthemic rock and melodic hooks, with standout tracks like "Hang On for Your Life," "Hollywood," "Breakout," and "Are You on My Side" all receiving steady radio airplay. One of the album's most unique moments came with "Flesh and Blood," an up-tempo rock song featuring a soaring violin solo_a rarity in the genre that highlighted the band's signature sound. While the record found success on rock stations, it also marked the end of an era, as founding keyboardist Bill Guffey departed the band following its release. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still at the helm, Hang On for Your Life captured Shooting Star at their peak_an ambitious, hard-driving rock band with a sound that was both melodic and powerful.
Red vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.
Red/Black splatter vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.
Clear marble vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.
Clear Vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.
Female hip hop MCs don't come much better than Bahamadia, who dominated 90s rap with her buttery flows. Two of her most loved bangers on 45 for the first time ever! Limited to only 300 copies as always.
out of Stock
Last delivered 11 months ago available to reorder, subject to availability
"Stoned Immaculate" (1991) ist das wohl bekannteste Dub Syndicate-Album, aufgenommen zwischen Jamaika und London. Zu den rockigen Rhythms des Bandleaders Style Scott gesellen sich weitere Topmusiker wie Skip McDonald (git), Lee "Scratch" Perry und Akabu on vocals, Leith Levene (keys), sowie Samples des verstorbenen, großartigen Prince Far I. Es markiert eine Zeit, in der das Label von Acid-House-Fans ebenso angenommen wurde wie von Hardcore-Dub-Fans, und diese LP zum festen Bestandteil der "Comedown"-Session nach dem Rave wurde. Der Titeltrack ist eine wahre On-U-Sound-Hymne, die Reggae, ausgeflippte Electronica, The Doors und Motown zu einem epischen Groove vermischt. Das seit Jahren vergriffene Vinylformat wurde von Frank Merritt im The Carvery neu geschnitten und enthält rare Fotos von Coneyl Jay und neue Linernotes von Rob Harris (Testpressung).
out of Stock
Last delivered 19 months ago available to reorder, subject to availability
"Ital Breakfast" (1996) ist ein weiterer Dub Syndicate-Klassiker, bei dem Style Scott noch mehr jamaikanische Topmusiker zusammenbrachte, darunter Mitglieder von Roots Radics, Soul Syndicate, Joe Gibbs' Professionals und Bunny Lee's Aggrovators. Dieses unglaubliche Erbe wird durch Adrian Sherwoods Arbeit am Mischpult ergänzt, bei der er die Londoner Musiker Skip McDonald und Akabu overdubbte und seine Klangmagie auf das Rohmaterial wirken ließ – eine echte transatlantische Dub-Zusammenarbeit. Die LP enthält zudem einen Cameo-Auftritt des legendären DJs I Roy auf dem Titeltrack sowie ein Gastfeature von Lee "Scratch" Perry auf "The Captain's Trance Mission". Das seit langem vergriffene Vinylformat wurde von Frank Merritt im The Carvery neu geschnitten und enthält rare Fotos von Coneyl Jay und neue Linernotes von Rob Harris (Testpressung).
out of Stock
Last delivered 19 months ago available to reorder, subject to availability
Zum 10. Jubiläum farbiges Vinyl! Es war unvermeidlich: seit ihrer ersten Zusammenarbeit im Jahr 2012 für den Track "Tá bom" kreuzten sich ständig die Wege des MC und des Trios, entweder im Studio oder auf der Bühne. Es war dann an der Zeit, anlässlich des 10. Jahrestages des Labels auf der schönen Insel Réunion, bei einem Glas Rum und einer Zigarre, dass die Entscheidung getroffen wurde: Das Album "The Journey" wird im Herbst 2015 veröffentlicht und die Reise gestartet. Für die Produktion griffen die drei "Chinesen" ganz tief in die Plattenkkiste: Banjo-Methode, 30 Jahre Musik, Flöten aus den Anden, das Ziel ist einfach: aus dem geohnten Gebiet der Sample Digger auszubrechen und sich so weit weg wie möglich von Hip Hop zu entfernen, um dann wieder mit neuen Perspektiven zu starten. Die Texte von conscious rapper TUMI schwanken zwischen Ironie und Bitterkeit. Fünf der Titel wurden von Chinese Man produziert und eingespielt, einer von Leyan und Tomapam. Oben drauf runden sechs Instrumentalversionen das Album ab, darunter Beiträge von Hugo Kant, Le Syndicat Du Chrome und der Scratch Bandits Crew.
out of Stock
Last delivered 19 months ago available to reorder, subject to availability
Alongside the multiple UK Soul Chart No.1 album "Forward Motion' and trailing the vinyl 2LP issue comes the Georgie Bromfield Remix of 'I'm In Love (Georgie B. Remix)'.
Georgie Bromfield has a proven track record of No.1 Remixes in the Soul market, and is a veteran of the UK Soul Scene from the 1980's Jazz-Funk heyday of his band Second image up until the present day with his current releases by Groove Association.
Georgie has a weekly radio show every Saturday night on GLR. Georgie's remix highlights the vocals of one of Soul Music's 'best kept secrets', Antonio McLendon, a name that has rightly been comparied to Luther Vandross in terms of quality and who happens to be the father of Grammy-award winning Jazz vocalist Samara Joy. This remix is in advance of the vinyl 2LP release of the 'Forward Motion' album.
out of Stock
Last delivered 18 months ago available to reorder, subject to availability
Introducing the ultimate Rock and Power Ballads collection - NOW That’s What I Call Rock Anthems – Out 31st May! Get ready to crank up the volume and let the music take you on a journey through 79 epic hits, spread across 4 CDs.and with 45 epic hits on 3-LP’s pressed in stunning Neon Violet Vinyl
out of Stock
Last delivered 19 months ago available to reorder, subject to availability
