Suche:mind one

Several months on from founding guitarist Scott Middleton leaving the band, Cancer Bats have announced details of their first album without him: Psychic Jailbreak. Due out on April 15 via their own Bat Skull Records in partnership with New Damage Records, the Toronto hardcore punk kings admit that they knew album number seven "had to be special" given the line-up change, with vocalist Liam Cormier explaining of the mood going into it: “Our band has never been one sole member tasked with all the writing. Over the last 15 years of releasing albums, it’s been a collaboration of the four of us forming all musical ideas. That being said, we knew that the three remaining Bats would have to prove our worth with this next album. "We wanted to show Cancer Bats fans that an exciting new future was in store for us. To say the stakes were high on this album, would be an understatement. We were all feeling a mix of excitement and nerves as we began tracking the 11 songs that would form this record.” He continues: "On the final days, while adding the last bits of 'skateboard noises' and guitar shreds, we were all feeling our confidence levels rise with each playback. This last years’ worth of long hours and many late nights writing, finally coming together as a whole and fully formed effort. We were proud as a band and felt this new offering was worthy to join in the legacy of Cancer Bats albums.

Several months on from founding guitarist Scott Middleton leaving the band, Cancer Bats have announced details of their first album without him: Psychic Jailbreak. Due out on April 15 via their own Bat Skull Records in partnership with New Damage Records, the Toronto hardcore punk kings admit that they knew album number seven "had to be special" given the line-up change, with vocalist Liam Cormier explaining of the mood going into it: “Our band has never been one sole member tasked with all the writing. Over the last 15 years of releasing albums, it’s been a collaboration of the four of us forming all musical ideas. That being said, we knew that the three remaining Bats would have to prove our worth with this next album. "We wanted to show Cancer Bats fans that an exciting new future was in store for us. To say the stakes were high on this album, would be an understatement. We were all feeling a mix of excitement and nerves as we began tracking the 11 songs that would form this record.” He continues: "On the final days, while adding the last bits of 'skateboard noises' and guitar shreds, we were all feeling our confidence levels rise with each playback. This last years’ worth of long hours and many late nights writing, finally coming together as a whole and fully formed effort. We were proud as a band and felt this new offering was worthy to join in the legacy of Cancer Bats albums.

"Incongruous is packed with nearly impossible guitar work that puts just about every other tech-minded band to shame. Notes come flying at an intense speed from all fronts (sans vocals) with mechanical precision. Some of the instrumentation is just absolutely mindblowing; how they manage to make this much wank listenable is beyond me. It really is an impressive feat all around, especially when you consider the nightmare it must have been to track songs with this level of speed and difficulty across multiple instruments and have it sound so tight and clean. Incongruous is certainly a tech-death marvel. This is one of Beneath the Massacre’s strongest releases yet, from the larger-than-life production to the impossible guitar acrobatics.

Walter Smith III and Matthew Stevens are two musicians at the forefront
of developments in jazz and improvised music, listing the likes of
Terence Blanchard, Ambrose Akinmusire, Esperanza Spalding and
Christian Scott as collaborators
The pair started working together in 2017, and four years later, they're back for
the third iteration of their highly commended In Common project. Previous guests
include Nate Smith, Linda May Han Oh and Marcus Gilmore; on 'In Common 3',
Kris Davis takes the piano chair vacated by Micah Thomas, and completing the
lineup are two legends of the game - Dave Holland and Terri Lyne
Carrington.What's new, third time around? "It's longer, freer, and yet more
spontaneous," says Smith. The successful In Common formula - inventive 'onepage songs' written with specific musicians in mind - disguises the through-line
that uniquely shapes this record: "The spotlight is on the community of musicians
as a whole," Smith comments. "The general vibe is sculpted by the musicians'
interpretations of what we bring in." Davis' influential presence means the project
leans into the aesthetics of free improvisation for the first time; the resulting
soundworld lends itself to electronic manipulation, another first for the series.
The span of fifteen tracks showcases the duo's knack for reinvention, slipping
into unfamiliar contexts without losing sight of the album's focused essence.
Smith is keen to emphasise the standalone nature of the divergent In Common
recordings. Some aspects carry through though, like their commitment to
remembering lost influences - opener 'Shine' serves as both a thank you and an
acknowledgement to McCoy Tyner, Wallace Roney, Chick Corea, Jimmy Health
and Ellis Marsalis. That introduces the remaining fourteen tracks, that divide
nearly exactly into spontaneously constructed ideas that introduce fully
composed tracks.

'Cross the Rolling Water' is the debut collaborative album from Hannah
Reed and Michael Starkey
Acclaimed singer-songwriter and fiddler Hannah Read met banjo player Michael
Starkey at an Appalachian old time session in Edinburgh in late 2019.The
moment they first struck up a tune together there was an immediate meeting of
musical minds and they have since become a formidable and dynamic fiddle and
banjo duo, playing repertoire deep from the old time tradition like Apple Blossom
as well as newly composed tunes and songs Shenandoah by Anais Mitchell.
Hannah is an award winning Scottish musician based in Brooklyn, NY. She moved
Stateside to study American fiddle styles and to immerse herself in the thriving
string music scene. She has toured extensively, performing solo and collaborating
with musicians far and wide including Tony Trischka, Sarah Jarosz and Jefferson
Hamer, as well as being one part of the BBC Folk Award winning Songs of
Separation. Her previous album was the well-received 'Way Out I'll Wander' from
2017.
Michael is a multi-instrumentalist, music teacher and old time banjo enthusiast
living in Scotland. His mission as a musician is to keep things simple - clear
melody lines underpinned by solid, infectious rhythm. Recent collaborations
include with Wayward Jane (Edinburgh- based UK/ US folk and roots music 4-
piece) and 'Faultlines', a collection of Lisa Fannen's poetry set to music.
"Hannah and Michael have arrived at a way of playing old- time music that's
refreshingly dynamic, expressive, and toneful. Every track makes me feel like I'm
sitting right next to them, eyeing my fiddle case, just hoping they'll let me join in" -
Stephanie Coleman, old time fiddler

London has been fanning the flames of hardcore punk relentlessly, producing some of the best music of the genre for a while now. Enter Mastermind, four young guns kicking it up a notch or five. Starting in 2018, and after a well received demo on Cold Comfort, here comes their scorching new release, ‘Bad Reaction’ EP, on Quality Control HQ Records. Prepare to have your mind mastered in the art of the wildest hardcore songwriting, where a 3 minute song can keep you engaged throughout and doesn’t seem out of the norm. Karim Newble, also the resident artist of the band, takes you through the waviest of riffs that remind you of the crazy end of late 80s NYHC, from such legends as Rest in Pieces and Killing Time. Meanwhile vocalist Jon Osborne might be the long lost son of Jeff Perlin growling along to the rhythm section, seemingly out of control with one beat hook after another, pulling everything together. Genre: Alternative / Punk & Hardcore

By the late 1980's Ton Lebbink was a well respected figure in Amsterdam's alternative scene: he was the drummer for the Amsterdam post punk group Mecano, a true punk poet and worked as a bouncer at Amsterdam's main music venue Paradiso. He released two solo albums, both in his unique narcotic style: laying absurd Dutch wordplay over stripped down frigid instrumentals. As the decade came to an end, Ton - already well in his forties - moved away from the often destructive and dangerous nightlife. After a series of odd jobs Ton started as a fitness instructor at an Amsterdam gym called Splash. Meanwhile, the 90's brought the latest musical craze to Amsterdam: House music began to flourish through clubs like RoXy, iT and Mazzo. With House being the ideal score for his fitness classes, the once well known cult figure faded into anonymity at a 120 beats per minute. His musical endeavours were focusing more on finding the right beats for aerobics exercises with self-devised exercise - eventually leading Ton to bootleg some of them on cassette tapes himself. In parallel to this radical shift, Ton did not stop making music. On the contrary, piles of demos showed high activity but in a direction no one was looking. Inspired by music to move to, Ton recorded hours of music that activated the body while staying true to his playful mindset. Discarding his voice as an instrument, the Roland W-30 sampler became his tool to communicate. Gathering vocal snippets from close friends, barflies and pets, a repertoire developed where witty repetitiveness could exist. Going through a vast collection of demos, pictures and many anecdotes, Rubber has been able to create an EP that gives insight into Ton's overlooked 90's era. Three playful dance tracks by Ton Lebbink taking his complete own take on the Amsterdam House revolution of the 90's. Full of inventiveness: hip-shaking grooves, hypnotic beats and rousing vocals. Tracks to move to and tracks to groove to. Essential dancefloor workout tunes for you and me. Ah yeah!

Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha’s “Orkos,” originally released on cassette, is one of these standout musical diamonds that combines Jazz and Egyptian vocal traditions with Funk, Latin and Soul. Out via Habibi Funk October 10th.

Maha’s “Orkos” immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who’s group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu’s “Ramy” TV Series).

At the time of its release, however, the “Orkos” cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha’s story. Below is a bit more context around the release as well as the campaign schedule.

The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether.

Maha’s “Orkos” album fits this category. Put out in a small run of cassettes, it’s fair to say that the singer’s sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time.

From the funk sounds of “Law Laffeina El Ard” (Single 1, out September 1 with Pre-Order announcement); the moody, mellow sounds of “Kabl Ma Nessallem We Nemshy” (Single 2, out September 23) or “We Mesheet;” to excursions into Latin sounds in the title track “Orkos,” and disco with “Ana Gaya” (Album Focus Track, out October 10) the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time.

We connected Maha in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. She also seemed interested in the idea in bringing her music back to people’s attention. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, having found a copy of it a year or two before, in Cairo. It was then obvious to team up for a collaboration for this project. You can find Moataz’s story about Maha and her music, as well as extensive interviews with Maha herself, in the booklet accompanying the release.

As always, both vinyl and CD come with an extensive booklet featuring interviews with Maha as well as unseen photos.

Art has the power to mirror and capture its creators surroundings and environment. Art can also reflect something much more personal by offering us a glimpse of the artist’s mind. Hands Rest, the 2nd studio album by German composer and musician Aparde, does both. While reflecting the essence of Berlin’s club scene, in which Aparde undoubtedly is immersed in, the album also takes us to the depths of the musician himself, far from clubs and live sets, to a world that is both intimate and profound. “I think that I always process circumstances uncon- sciously in my music and that my way of thinking is full of internal conflicts,” he says. It is this duality, of an artist who is both entertaining Berlin’s nightlife through electronic sounds and delving deep into his own emotions through avant-garde pop, that epitomises Aparde’s work.


Hands Rest, which was created over the span of one year, has a cathartic feel to it, “the process was very diffused in terms of time, because over the past year my life circumstances have been very complicated and often frustrating, and I had to motivate myself again and again.” While he crafted the tracks, Aparde was in fact processing his own thoughts and feelings after the end of a long relationship, and listeners navigate through varying soundscapes that seem to accompany Aparde’s own internal commotions as he himself navigated a turbulent year. “It the break up was accompanied by numbness and repression. This was followed by a period of inactivity and the thought of ending my activity as a musician,” he tells.

If someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.

The star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm & Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as „Les Black Devils“, „Djinn-Music“, „Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this context that Ernesto would draw the inspiration for a future formula.

Returning to Côte d‘Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards & Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.
Ernesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come soon enough, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.

The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.

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

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

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

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

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

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

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

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

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

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

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

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

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

France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.

The pertinency of the recordings only slowly appear On Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.

The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.

Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance.

It has been a long time coming as they say and now the second full length album from UK producer 2econd Class Citizen is ready for release. Having spent the past year collaborating with and remixing DJ Food, touring Europe with US artist cars&trains and remixing artists such as Loka and Dday One, 2econd Class Citizen also managed to fit in some studio time and is back with his signature sound on "The Small Minority", his follow-up to 2009's lauded "A World Without".

Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia are set to release their debut album 'Ever-changing Light' on the 7th October via the groove-obsessed Belgian tastemaker label, Sdban Ultra.

Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's 'Head Hunters' and Miles' acid funk of the mid-70s for inspiration.

'Ever-changing Light' is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk and groove. From the loose, laidback stylings of 'Mumpsimus' and the jazz-funk odyssey that is 'Pigeons' to the sonic wonders of 'Reminiscence' and urgent flow of 'Quanked', Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of 'Oneironauts' and improv 'Pukti part 1' showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus 'Voor Pieter A.' is a magical example of the virtuosity of Lucid Lucia.

Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album 'Days of Thunder, Days of Grace' in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album 'Engines' and with hip-hop MC, writer and producer Amir Sulaiman on the 2016 album 'First Let's Dance'. The 2017 album 'Waiho', the band's first instumental album and final album received glowing praise from numerous tastemakers including UNCUT magazine, The Line of Best Fit, XLR8R and Record Collector magazine.

To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: saxophones and EWI, Bart Borremans: saxophones, Stijn Cools: drums, Dries Laheye: bass, Dries Verhulst: guitar, Jan Willems: keys and James Williams: drums and percussion, they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen and many others.

Super limited edition pressed on heavyweight 180g vinyl housed in a picture sleeve and clear plastic outer sleeve – never to be repressed. Only 175 units.

Tokyo-based DJ, producer and sound artist Yuu Udagawa inaugurates the freshly launched Cyphon Recordings with her debut EP, ‘Forever’.

Growing up on a cocktail of everything from rock, hip-hop and Latin jazz to techno and house, Yuu’s immersive musical output draws inspiration from this diverse pool of influences to create ‘uplifting and healing’ music for the mind and body. There’s an elegance and sophistication to her productions, which stems from her desire to make music guided by the Golden Mean philosophy of finding a middle ground between two extremes: excess and deficiency.

Active as a DJ since the millennium, which saw her playing at clubs, festivals and fashion shows across the country, she soon turned her attention to music production and has since self-released a handful of singles and contributed audio commissions for Sony Playstation3, museums, theatres and apparel brands. Yuu’s meditative pallet of sounds instantly grabbed Cyphon’s third ear which led to the tracks that make up ‘Forever’: a collection of analog slo-mo electronica and leftfield minimal house that strike a perfect balance between warmth and depth.

The release opens with the titular track: a deep, emotive electro cut punctuated by a twinkling synthline and blissful vocals. ‘Mojito’ continues the EP’s voyage into the deep, matching softly spoken word with jazz-tinged chords and meandering melodies, before ’Hug Close’ strips things back, guided by a crunchy minimal groove, warm, resolute keys and reflective synths.

The B-Side steers things on a soulful course. The dark, enveloping atmosphere of ‘Illuminated Night' is lifted by bright synth stabs and harmonic R&B-flavoured vocals. These influences continue on closer ‘Stay With Us’. Slowing down the pace, the track is a wash of shimmering funk-inspired chords and shuffling rhythms, laced once again with effortless, soaring vocal tones.

DJ Feedback:

Joyce Muniz - Nice one!

Andrew Wowk - "Mojito" is awesome - such a nice groove (followed up)

Geordie Elliot-kerr - Some really interesting stuff in here. Digging the whole thing.

Simon Caldwell - Cool and different.

Paul Beller - super star release.

Fred Peterkin - Dope...

Alex Barck - Sounds fresh to me

Ruben Mandolini – Nice

Gabriel Izarraraz - great music will play for sure

Kristijan Molnar - Very nice!

Chris Loxton - superb

Danton Eeprom - Really love the production and original vibe of this record. bring it on!

Raymundo Rodriguez - cool release

Hoshina Anniversary offers a new LP of fluid, alchemical dance music in the shape of Hisyochi, on Impatience. Moving well beyond the initial influence of jazz fusion, electronica and his Japanese heritage, Hoshina Anniversary continues to carve deeper into his own cosm, and Hisyochi arguably represents this prolific producer at his most singular, refined and potent yet.

With nowhere to go and little to do, Hoshina was making music at a seemingly unstoppable torrent throughout the pandemic, sometimes sketching close to 100 tracks in any given month. Opening up a session from a previous track, he would erase all but one element, using it as a starting point for a completely new experiment, lending the body of work a subtle yet tangible coherence. Hisyochi was pieced together from a swathe of productions that came out of a particularly fertile period in the first half of 2021, which also birthed his recent release on Patience, Hyakunin Isshu.

Roughly translating to “somewhere cool to relax during a hot summer” according to Hoshina, Hisyochi transcends seasons but undoubtedly runs hot. Drum patterns are crisp, varied and invariably body-moving, basslines ascend at vertigo-inducing velocity, and dimly-lit jazz-bar piano is often the only element anchoring the sound to terra firma.

Following the plaintive, palette cleansing introduction of Rakka, Irahu plots the course with a light arpeggiator over a chugging rhythm before a warbly piano line to creeps in the back door. Misebayana is a jolt of gyrating mutant dance, part video game suspense and part footwork for drums and koto, while Kokoro no Heisei (Peace Of Mind) sees Hoshina deliver a salvo to stillness over a meandering, dubby spacewalk. Roman is an invigorating cut of warped dancehall tango, while the closing title track perfectly encapsulates the essence of the record and Hoshina Anniversary in 2022 in one elegant, acidic rinse.

Hoshina Anniversary is Yoshinobu Hoshina, from Hachioji, outside of Tokyo. He’s released records as Hoshina Anniversary on ESP Institute, Alien Jams and Youth, under his Suemori moniker for Osare! Editions and as Shifting Gears for Toucan Sounds, amongst others.

Hisyochi was written, produced and mixed by Hoshina Anniversary. It was mastered by Josh Bonati in NYC, and artwork is by Luca Schenardi.

AOTN proudly present a new solo outing from long time friend & contributor to Athens of the North, Other Lands aka Gavin L.Sutherland.

Channelling his considerable improvisational skills to evoke notions of island life, his concept was to create something that could work equally well in the wilds of the Western Isles as in the sunnier spots of the world that we all yearned to escape to at that time. The more he played with this idea of groups of islands, of archipelagos the world over, the more it also became about people themselves experiencing isolation as individuals, while still feeling a sense of togetherness with others in the same boat.

Working a little at home but mainly here at Athens of the North studios, he would come in each day over the course of a few weeks and just hit record, playing at times almost without mind. Sometimes the mood would call for keys, strings, or drums through delays for days and days. Often, the music would happen by chance as much as by design. One rule he tried to adhere to was to not overthink things, capturing moments honestly with minimal editing or digital processing.

What we've ended up with is a beautiful, spontaneous, timeless and honest meditation on what it is to be at once both alone and part of a larger whole.

Limited Clear Grey Vinyl 7". For Fans Of… Piero Umiliani, Amedeo Tommasi, Dorothy Ashby, Sandro Brugnolini, El Michels Affair, Sven Wunder. Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960’s, Salvator creates his own unique mood that’s equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.

Tracks 1. Mind On Madrid 2. A Return To Normal

One of the UK’s most consistently inventive production minds of recent times, Lil Silva has perhaps one of the most varied resumes in the world. Causing a seismic effect on the world of club music with smashes such as ‘Seasons’ and releases with the likes of Night Slugs, production credits for a diverse range of artists such as Adele, BANKS, Mark Ronson and serpentwithfeet, and a collaborative project with George FitzGerald as OTHERLiiNE even before factoring stellar solo releases under the Lil Silva moniker using his own vocal, he has continuously combined a broad range of influences to create a transformative, varied discography. After the release of ‘Backwards’ last month alongside Sampha, today Lil Silva announces his long awaited debut album, Yesterday Is Heavy.

Over 10 years in the making, ‘Yesterday Is Heavy’ is a cumulative product of an already remarkable career filled with highlights. An album about stepping out: outside of a comfort zone, and, for Lil Silva, outside of himself. It’s a debut album of heft and heart, but most of all hope – and trusting the process. Buoyed on by the encouragement of long-time collaborators like Jamie Woon and Sampha early in his career (they both implored him to commit his own voice to record), and bolstered by incomparable session experience working with Mark Ronson, Adele and more, the Lil Silva story that started aged 10 in Bedford is beginning full circle. Created primarily in the town he grew up in (and continues to live now), the pervading solace of home courses through the project, while providing the thrilling moments of sleight of hand that Silva has always been capable of.

As he so often does, Lil Silva shares the spotlight with an astonishing international cast of guests. He fuses well-versed modern legends in the shape of Sampha, Ghetts, and Little Dragon with rising stars serpentwithfeet, Charlotte Day Wilson and Skiifall to thrilling effect, the whole time never allowing his deftly dynamic yet considered touch to be outshone throughout. The album has also been created with musical direction from Louis Vuitton musical director and BBC Radio 1 tastemaker Benji B, as well as creative direction from award winning visual artist BAFIC. It’s with the opening track ‘Another Sketch’ however, where his singular talent introduces itself.

With a visual directed by UKMVA Award winner Fenn O’Meally, ‘Another Sketch’ is a prime example of the vast array of talents that Lil Silva possesses. A video that transcends generations of Black Britons (featuring Lil Silva’s own family as well as Sampha), ‘Another Sketch’ focuses on the subject of time. Looking at generations of black britons as monuments, the visual centres on the idea that despite time being able to wear down your appearance, what’s inside of you can never depreciate. The main centrepiece of this is heritage, with archive and newly recorded footage showing Silva’s family and friends enjoying the same activities they did generations ago, spliced with footage and voice notes from one of the lands of his dual heritage, Jamaica. The track itself focuses on a central theme of actions, their consequences and changing our inevitable future, with Lil Silva’s stunning falsetto shining alongside background vocals from serpentwithfeet and an instrumental that initially opens minimalistically before gradually unfurling to unveil elements of his electronic beginnings; a thumping hip hop infused beat and swelling melodic embellishments.

With ‘Yesterday Is Heavy’, Lil Silva reaps the rewards of over a decade of influence to create the debut album he’s always imagined. Simultaneously riding the line between pertinent storytelling and virtuosic production, ‘Yesterday Is Heavy’ charts the story of one of UK music’s unsung heroes taking his time to build something that is truly timeless. Yesterday Is Heavy, but tomorrow is forever.

'Terra' is the debut album of jazz singer Hannah Weiss, the voice of the
Munich native, who grew up in Switzerland, can not only be cool and
warm, it also covers all temperature ranges
Weiss, winner of the BMW Welt Young Artist Jazz Award in 2019, skilfully
balances on nuances and, with her typical timbre, always sounds new and
surprisingly different - so that even without lyrics it is immediately clear what she
singing is about. About fear, about flight and hunger and pain. And about love,
longing and devotion. In the lyrics of her nine-part suite composition 'Terra', which
also gives the album its name, Weiss describes what she sees and what occupies
her mind, she sings about the paradoxically normal coexistence of the most
diverse side by side of emotional states, without judging, and in the knowledge
that that one does not make the other less relevant. On the one hand, Terra
sounds playfully light: a well-composed, beautiful-sounding concept album that
floats past you like a spring breeze.

restock

Hearttheartrecords presents Dangirl and Demo DC who with their combined talents form Ghost N the Wai bring a fresh take on the electronic music scene. Dangirl's musical mastery of keyboard melodies and composition and Demo's unconventional wizardry of electronic sounds and drumming creates an alchemy of aural delight. The Wai (Aka Dangirl) begins this magical experience with her Debut track Between worlds, a celebraton of life, a sparkling tribute to all that exists. With a combination of orchestral magic, arpeggiated droplets and deep groovy basslines, we are taken on an immensely beautiful journey through the cosmos dancing with the intricate layers of the emotional spectrum and rejoicing at what it is to be a living being in the multiverse. Finding beauty and sacredness in even the most testing moments as we are cushioned by an unrelenting and loving consciousness. Some mind made limitations were overcome in the writing of this and as a result caused a significant shift in Dangirl as an artist, hence the effect of this track may be deeply healing. By exploring the pure deliciousness of arpeggiation and marimba sounds The Wai discovered her own unique style of electronica. When the World Sleeps, is an ambient fairy tale of a little girl who ventures out under the starry night sky and is filled with a sense of peace and wonder as the rest of the world wind down to sleep. Big sister to Between Worlds, The Wai's first electronic baby was the original inspiration for Ghost 'N' the Wai starting a whole new venture for Demo Dc and Dangirl. This piece is the tale of a girl who travels to places of unimaginable beauty, exploring the vast cosmos with her star friends. The healing energy of pure childish joy permeates the universe and balances all in existance. As dawn approaches she returns to bed and earth's inhabitants start their routines like a production line. Reminiscent of the Indonesian gamelan (one of Dangirl's lifetime musical inspirations) we are taken on a meditative journey, with haunting bells and dreamy frequencies revealing unfamiliar worlds but maintaining a sense of peaceful slumber. Resting in the womb. Our home. Nap is Over mix is a collaboration of the Wai aka Dangirl and Ghost Foreigner aka DemoDc which when the two unite, form Ghost N the Wai. This track manifested when the Wai asked for Ghost’s feedback on her ambient piece When the world sleeps. After a day of Ghost having it in his grasp, Nap is Over was born effortlessly, giving insight into the power that simmers beneath the surface of these two aspiring artists. The Wai, with her deep, still, meditative grace brings contemplative composition along with Ghost bringing organic yet organised chaotic experimental beats. Nap is over questions reality as it stands, giving the listener the opportunity to ponder their own existence .... the world no longer sleeps ... the Nap is Over.

Reissue of 1997 album on 180 gram RED vinyl by Toots & The Maytals.

Lead Vocals: Toots Hibbert
Background Vocals: Raleigh Gordon, Jerry Matthias
Guitars: Hux Brown, Carl Harvey, Rad Bryan
Keyboards: Winston Grennan
Bass: Jackie Jackson

Produced by: Toots Hibbert
Executive producer on tracks 2,3 & 4 Wayne Chen
Track 1 produced by Peter Simon
Art/Design Gordeuk/Keane Visuals
Photos: Mike Cacia
Mastered by: Dale Ashley at Grace Note Productions

Nach der Veröffentlichung von "Acoustic Adventures -
Volume One", besteht der Großteil des zweiten Kapitels
aus schnelleren Stücken wie 'Black Sheep', dem
Allzeit-Live-Klassiker 'FullMoon' und 'Flag In The Ground'.
Aber SONATA ARCTICA wären nicht SONATA ARCTICA,
wenn sie auf Nummer sicher gehen würden: 'San
Sebastian' oder der Abschlusstrack 'Victoria's Secret'
schaffen es, ein völlig neues, erfrischendes Gefühl beim
Hörer zu verbreiten; ein Gefühl, das man natürlich am
besten vor einer Bühne erleben kann! Um diese
besondere Saga zu vollenden und endlich den
Startschuss für ihre nächste, mehrfach verschobene
"Acoustic Adventures"-Tour zu feiern, um die
Corona-geschüttelten finnischen und europäischen
Festland-Gemüter zu erheben. Aber erst einmal: Kommt
ins Wohnzimmer, lehnt euch zurück und folgt SONATA
ARCTICA auf ihrer abgespeckten, aber nicht minder
spannenden Reise in die Welt der akustischen Musik...!

After the release of "Acoustic Adventures - Volume One", most of the second chapter consists of faster tracks like 'Black Sheep', the all-time live classic 'FullMoon' and 'Flag In The Ground'. But SONATA ARCTICA wouldn't be SONATA ARCTICA if they played it safe: 'San Sebastian' or the closing track 'Victoria's Secret' manage to spread a completely new, refreshing feeling to the listener; a feeling that is best experienced in front of a stage, of course!
To complete this particular saga and finally celebrate the kick-off of their next, repeatedly postponed 'Acoustic Adventures' tour to uplift the Corona-shaken Finnish and European mainland minds. But first: come into the living room, sit back and follow SONATA ARCTICA on their stripped-down but no less exciting journey into the world of acoustic music...!

Andreas Toftemark is a young and talented Danish saxophonist and composer, who has spent the last 8 years of his life making a career for himself abroad; with 1 year in Sweden, 3 years in Amsterdam and 4 years in New York - where he was very inspired and influenced by the capital of jazz. Toftemark has studied with prominent names, such as Joel Frahm, Ben Wendel, Sam Yahel and Eric Alexander. He has performed around the world and he has played with many internationally acclaimed jazz musicians, like Peter Bernstein, Rodney Green, Ethan Iverson and Paul Sikivie. The six tracks on 'A New York Flight' are melodic and driven by the rhythmic open-mindedness that jazz is moving towards today. This is something that can be heard on both the two tracks that Andreas Toftemark has composed himself and on the four jazz standards which the quartet also play. It is swinging and at the same time open to the individual interpretations of both the listeners and of the musicians. The overall subject of the songs are love and passion, whether it's the love for New York - or perhaps the regained love for Denmark...? - or the love expressed on the track, which was the first single from the album, and which also has the most mysterious title of all of the tracks on the album, '2223', which is a row of numbers that seem to follow Toftemark in love and in friendships. Andreas Toftemark Quartet consists of some of the absolutely finest young musicians on the contemporary Danish jazz scene; Felix Moseholm on bass, Andreas Svendsen on drums, Calle Brickman on piano and, of course, Andreas Toftemark himself on sax. Each one of them is an overwhelming joy to listen to, and brought together in a band, they bring music to a both sincere and playful level.

WWe are thrilled to welcome Thailand’s Pakarapol Anantakritayathorn aka DOTT for our 12th release on BLKMARKET MUSIC.

DOTT is an integral player in Bangkok’s expanding underground house and techno scene and is one of the three founders of "More Rice", an Asia-based, vinyl only label together with Sarayu and Mikhail, in which the direction is more towards obscurity. Their main vision is to support Asia's upcoming talents by creating great connections between them and other international artists around the world. This vision has led him to open up his brand new record shop More Rice Records in Bangkok.

DOTT’s Bang Waek Baseline EP brings 4 dance floor baseline grooves with an intoxicating analogue sound palette. We will let the music do the talking and let you take a trip into DOTT’s mind with this wicked release.

Limited Blue Sky Colour Vinyl LP Pressing. This release is strictly for Indie Stores Only. First reissue of Love Battery’s 1992 Debut Sub Pop Album. Remastered by Jack Endino from the Original Masters. Includes Liner Notes with photos, lyrics and more. Jackpot Records is proud to announce the upcoming vinyl reissue of the classic 1992 Sub Pop album: LOVE BATTERY “Dayglo”. In the middle of the wonderful sludge that was coming out of Seattle in the late 80s/early 90’s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more...dare we say...British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, ‘Dayglo’. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On 'Dayglo', inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through 10 songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves, ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout.

Reviews: “4 ½ stars out of 5 - Dayglo is imbued with a highly energetic style and creative force”. All Music Guide // “Two years later, Oasis made the same record and were called geniuses” SPIN Magazine // Track listing: 1 Out Of Focus 2 Foot 3 Damaged 4 See Your Mind 5 Side (With You) 6 Cool School (Trane Of Thought) 7 Sometimes 8 Blonde 9 Dayglo 10 23 Modern Stories

Some people choose the pages of a diary to spill their innermost feelings
and recount their trials and tribulations - Instead, Chayse Porter has a
palace - It's this metaphorical place where I can go to express myself and
feel safe, he explains
It's this place where you can get all your secrets out in the open and feel at home.
But rather than luxuriate in his regal mental abode, Porter's latest for Earth
Libraries takes listeners on a grand tour, revealing the nooks and crannies of his
heart and mind.Recording on vintage gear and working with producer Brad Timko
redoubles that sense of intimacy, imbuing every take with a bronzy finish. € I've
always really appreciated records that opt for analog, so this one is all just raw
performance, straight to tape, € Porter says. € It gives me time to sit with each
part of the composition, to live more within the song. €
As the album rolls ever forward to its conclusion, the rough edges of the pain and
suffering have softened, and Porter has come to a sense of hopefulness. "It was
very tumultuous to put this album together and express myself openly in this way,
but at the end of the album I'm reassuring myself that there's an opportunity for
growth both personally and interpersonally, having gone through this challenging
time and coming out the other side, € Porter says. At the end of the long and
fascinating tour of Chay's Palace, Porter makes the listener feel the warmth at its
core that he himself has found.
Tracks: Purpling Dawn / Jet Lag / Nobody Wants You (More Than Me) / Penny /
Heat Lamp / Theme from Chay's Palace / Palace Doors / Pacific Inn / Purpling
Dawn Pt. 2 / Blue Star / Yoshi

Ford and Evans have shared the stage in Europe, North America and even
Japan and already released one album The Sun Room together in 2019
(earMUSIC)
With Common Ground they continue their creative relationship as Bill Evans
explains. “Every now and then, like-minded musicians are able to get together in
the studio or on the same stage and create interesting music together. It’s the
blending of each other’s influences and styles, and the will to create something
new and fresh that can turn this ‘creative meeting’ into something special. I
believe myself and Robben share that same ideology. Robben and I both love all
kinds of music whether it’s classic blues, soul, rock and roll, you name it. This
openness to combine different kinds of music and create something musical and
special is what brought me and Robben together in the first place. Robben
composed some of the most inspiring music I’ve played in a long time. Our
writing styles blend seamlessly.”
The title track features the vocals of popular German singer Max Mutzke.

For the next instalment in our split series, we handed the reins over to two producers whose work has kept us continually inspired over the last few years. At the helm of the A-side, Berlin big-room havoc-wreaker AMOTIK puts on the burners right away with two riotous jams that scream nothing but sonic aggression. On the flip, the mysterious, genre-unbound Janice sweeps us into his psychedelic, non-formulaic techno mindset. True to AMOTIK's minutely balanced, well-integrated blends of punishing kick drums and sunken harmonics, metronomic destroyer "Narangi" swings the pendulum sharp and clean, from deep down a thick sludge of reverb-soaked, FX-topped percussive armada to bleeps n' bloops barrage fire, whereas quake-inducing tides of 909 thunder hail down upon the dance floor with unrelenting frenzy. The dusty bone-bruiser "Hara" picks up the torch and it's in no calmer mood. A slowed-down, breaks-loaded churner, this one relies on a fine engineering of lo-freq moves and pure hardware-processed filth to establish a murky motel, cinematic narrative of sorts. Up with the fracturing wares, here's Janice rocking the flip upside down with the aptly-titled "Mass Formation Hypnosis". Doing what's written on the tin, the faceless producer rushes us headfirst into the boiler for a thorough, unfaltering brainwash. Smelling of leather, grease and coal, this one's bristling with a delectably rugged palette of unambiguous electronics: an ultimate shelling of chest-rattling drum work, in-your-face bass uppercuts, trumpeting stabs and menacingly altered vox. The final salvo, "Names and Excuses", tops it all off on an ominously droney tip, flinging us right away into the frothing mouth of a deadly machine giant, hurtling and tumbling down mazy bowels of washed-out ambient techno via rhyzomatic gutters of brooding abstract motifs and no-frills heavyweight pound. Hectic. ''XVII'' comes adorned with a duly outstanding frame to shine, and will be pressed on 180g audiophile quality vinyl. Once again a way for RYC to openly declare its aspirations and goals, in letting people know that quality, passion and love for the music is all that matters.

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special
guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:

Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.

After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam Recordings, !K7.

The "Million Dollar Quartet" is a recording of a celebrated impromptu
session that brought rock & roll icons Elvis Presley, Johnny Cash, Jerry
Lee Lewis, and Carl Perkins together for the first and only time
2LP set in gatefold sleeve edition - 180g coloured vinyl (disc 1 red, disc 2 yellow).
On December 4, 1956, these four young musicians gathered at Sun Records in
Memphis for what would be one of the greatest jam sessions ever. This essential
double LP edition (gatefold open cover) presents that legendary event in its
entirety, while maintaining the original recording sequence.
Rock & roll was born of gospel, country, doo-wop, blues, pop, and cowboy songs,
all of which can be heard here. Included here are several popular numbers from
that period, such as "Rip It Up," "Don't Forbid Me," and "Out of Sight, Out of Mind,"
plus some of Elvis' own songs ("Don't Be Cruel," "Love Me Tender," and
"Paralyzed"), and covers of Chuck Berry's "Brown-Eyed Handsome Man" and "Too
Much Monkey Business," as well as traditional tunes, and some classic country
and bluegrass songs penned by Hank Snow, Faron Young, Gene Autry and Bill
Monroe.
The joyous spontaneity and the fly- on- the- wall feel of the occasion make for
fascinating listening. This set represents a memorable slice of American culture
and allows listeners to experience a historic moment of the original rock & roll
era.

Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960's, Salvator creates his own unique mood that's equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.

Black White Splatter Vinyl

When two musicians intensively work together for a period of time, at some point the whole becomes greater than the sum of its parts. If Paul Boex and Dave Miller hadn't already reached that status under their Abstract Division moniker, they certainly have now, with the release of Midnight Ensemble, their first full length album.

Those who have followed the duo since their early days of playing dj-sets together, know that it's hard to define their style anywhere beyond techno or even electronic music, as it is ever evolving and always dependent on the time of the day or night. When listening to this album, the resemblance between their unpredictable selection behind the decks and the eclectic range of subgenres on this album is more obvious than ever before. Midnight Ensemble could be interpreted as an ode to nightlife; a reminiscence of all that happens between dusk and dawn, captured and compressed into about one hour of music. An hour in which they so delicately time their changing of styles and tempos, always reading the room and always being one step ahead of the crowd.

This album is a reflection of that skill, starting its journey with soothing, moodsetting ambient, followed by timeless pieces of Detroit and dubtechno. A daring electro cut providing a refreshing break from the four to the floor tradition, only to be followed by the stripped down sound the duo is so comfortable with.

The final minutes consist of experimental breaks, one last banger to pull out the last bits of energy that is left and a beautiful outro, which concludes the allnighter vibe. There are no open endings, it doesn't make you want to stay in the dark forever. Rather it makes you want to close your eyes one last time before walking outside to see the sun come up again before going home, overwhelmed and satisfied.

Now available on vinyl, Heartmind is Cass McCombs' biggest album in
years, garnering the best reviews of his career to date
UNCUT ALBUM OF THE MONTH - "One of the most impressive bodies of work of
the century so far."
MOJO ALBUM OF THE MONTH - "On a mission to find out where the heart and
mind intersect.....there is real emotional impact here."
Songs like "Karaoke" are a god-level burst of powerpop perfection, as fetching as
anything Cass has ever cut: Cass triangulates a perch of his very own out among
The Go-Betweens, The dB's, and The Cure,and vibrates there, a beacon. And then,
of course, there is the song's playful if painful lyrical conceit — the lover who is
making all the sacred motions of commitment but whose feelings may be no
more deep or real than someone simply reading the lyrics for "Vision of Love" or
"Stand by Your Man" from some crowded bar's TV screen.
Cass recorded these songs in multiple sessions on both coasts, in Brooklyn and
Burbank. The great Shahzad Ismaily not only cut the staggering "Unproud
Warrior" and four others here but also played lots of bass. Buddy Ross tracked
"New Earth," a paean of post- humanity renewal with several sharp wisecracks.
Ariel Rechtshaid — now a dozen years into his collaboration with Cass, which
began with 2009's Catacombs—captured Cass' scintillating guitars on "Belong to
Heaven," a thoughtful consideration of what we all lose when we lose an old
friend to the inevitable end. The steadfast Rob Schnapf (who previously produced
McCombs' ANTI- debut, Mangy Love) mixed and merged it all. Wynonna Judd
(yes, that one) offers harmonies, while her beau Cactus Moser provides some lap
steel. Joe Russo, Kassa Overall, Danielle Haim, Nestor Gomez are featured on the
album, too.

Universally credited as the band that invented grindcore, it's no
exaggeration to say that Napalm Death are one of the most important
acts in metal history
Earache Records' third ever release (MOSH003), classic debut album 'Scum' had
an immediate, seismic impact in 1987 and its influence can still be felt far and
wide today. To celebrate its 35th anniversary, this essential album is repressed
with a limited-edition Blue colour sleeve. An absolute 'must have' for any heavy
metal collector. Pressed from the original master tapes, the album has been
specially recreated using 'fdr' – full dynamic range mastering - allowing the
music's nuances to shine through and giving the classic album a more ferocious
and dynamic sound, enabling the listener to immerse in the full audio heaviness
like never before.
LP Tracks: Multinational Corporations / Instinct of Survival / The Kill / Scum /
Caught in a Dream / Polluted Minds / Sacrificed / Siege of Power / Control / Born
On Your Knees / Human Garbage / You Suffer / Life? / Prison Without Walls /
Point of No Return / Negative Approach / Success? / Deceiver / C.S. / Parasites /
Pseudo Youth / Divine Death / As the Machine Rolls On / Common Enemy / Moral
Crusade / Stigmatized / M.A.D / Dragnet

Universally credited as the band that invented grindcore, it's no
exaggeration to say that Napalm Death are one of the most important
acts in metal history
Earache Records' third ever release (MOSH003), classic debut album 'Scum' had
an immediate, seismic impact in 1987 and its influence can still be felt far and
wide today. To celebrate its 35th anniversary, this essential album is repressed
with a limited-edition Blue colour sleeve. An absolute 'must have' for any heavy
metal collector. Pressed from the original master tapes, the album has been
specially recreated using 'fdr' – full dynamic range mastering - allowing the
music's nuances to shine through and giving the classic album a more ferocious
and dynamic sound, enabling the listener to immerse in the full audio heaviness
like never before.
LP Tracks: Multinational Corporations / Instinct of Survival / The Kill / Scum /
Caught in a Dream / Polluted Minds / Sacrificed / Siege of Power / Control / Born
On Your Knees / Human Garbage / You Suffer / Life? / Prison Without Walls /
Point of No Return / Negative Approach / Success? / Deceiver / C.S. / Parasites /
Pseudo Youth / Divine Death / As the Machine Rolls On / Common Enemy / Moral
Crusade / Stigmatized / M.A.D / Dragnet

Universally credited as the band that invented grindcore, it's no
exaggeration to say that Napalm Death are one of the most important
acts in metal history
Earache Records' third ever release (MOSH003), classic debut album 'Scum' had
an immediate, seismic impact in 1987 and its influence can still be felt far and
wide today. To celebrate its 35th anniversary, this essential album is repressed
with a limited-edition Blue colour sleeve. An absolute 'must have' for any heavy
metal collector. Pressed from the original master tapes, the album has been
specially recreated using 'fdr' – full dynamic range mastering - allowing the
music's nuances to shine through and giving the classic album a more ferocious
and dynamic sound, enabling the listener to immerse in the full audio heaviness
like never before.
LP Tracks: Multinational Corporations / Instinct of Survival / The Kill / Scum /
Caught in a Dream / Polluted Minds / Sacrificed / Siege of Power / Control / Born
On Your Knees / Human Garbage / You Suffer / Life? / Prison Without Walls /
Point of No Return / Negative Approach / Success? / Deceiver / C.S. / Parasites /
Pseudo Youth / Divine Death / As the Machine Rolls On / Common Enemy / Moral
Crusade / Stigmatized / M.A.D / Dragnet