Cerca:mixed company

For more than two decades alto saxophonist Marshall Allen has carried
on the legacy and sound of the Sun Ra Arkestra - He turned 98 in 2022
and as evidenced by Living Sky, his influence and leadership remain
undiminished
On the group's first recording since the pandemic and their Grammy nomination,
bandleader Marshall Allen and company give us something we can hold onto, an
instrumental album rich in spirituality to guide us through the unknown yet again.
The album includes the first studio recording of Sun Ra's elaboration of Frederic
Chopin's "Prelude in A Major", first instrumental recording of Ra's "Somebody
Else's Idea". Features Allen's "Day of the Living Sky", a meditative work that is a
belated response to Sun Ra's composition "Night of the Living Sky" which is also
featured in the album.
Cover art by Damon Locks. Mixed & mastered by two time Grammy winner Dave
Darlington.

For more than two decades alto saxophonist Marshall Allen has carried
on the legacy and sound of the Sun Ra Arkestra - He turned 98 in 2022
and as evidenced by Living Sky, his influence and leadership remain
undiminished
On the group's first recording since the pandemic and their Grammy nomination,
bandleader Marshall Allen and company give us something we can hold onto, an
instrumental album rich in spirituality to guide us through the unknown yet again.
The album includes the first studio recording of Sun Ra's elaboration of Frederic
Chopin's "Prelude in A Major", first instrumental recording of Ra's "Somebody
Else's Idea". Features Allen's "Day of the Living Sky", a meditative work that is a
belated response to Sun Ra's composition "Night of the Living Sky" which is also
featured in the album.
Cover art by Damon Locks. Mixed & mastered by two time Grammy winner Dave
Darlington.

This expanded edition presents the soundtrack with previously unreleased material not included on the original vinyl release, offering a more complete overview of Micalizzi’s work. The package is further enhanced by an 8-page full-color booklet featuring original artwork, extensive liner notes on the film, direction, and score by journalist Fabio Babini, as well as a personal contribution from Franco Micalizzi himself.

Composed by Maestro Franco Micalizzi for the cult 1984 film Non C’è Due Senza Quattro, starring the iconic duo Bud Spencer & Terence Hill in a rare fourfold role, this soundtrack captures the playful spirit and global flair of the film.

Micalizzi delivers a vibrant and rhythm-driven score, infused with warm Latin influences, breezy melodies, and an unmistakable sense of lightness. The result is a richly entertaining listening experience that perfectly mirrors the film’s humor, energy, and escapist charm.

A joyful and sun-soaked addition to any collection, this release stands as both a nostalgic tribute and a testament to Micalizzi’s enduring legacy in Italian cinema soundtracks—best enjoyed, perhaps, with a well-mixed cocktail in hand.

©℗ 1984 – Beat Records Company. Reissued by Holy Basil Records under license by Beat Records.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Daskal debuts on DJ Tennis’s Life and Death label today with the release of “Changes,” the first single from his forthcoming album OD, out March 6. The release marks a defining moment for the producer and composer, whose work moves fluidly between contemporary dance, film, and electronic music, and represents his first full-length statement reconnecting his compositional practice with the dancefloor.

“Changes” arrives alongside a striking accompanying video directed by award-winning filmmaker Tamir Faingold, featuring dancers from the world-renowned Batsheva Dance Company. Rather than functioning as a traditional music video, the piece uses contemporary dance as its primary language, translating the emotional charge and magnetism of nightlife into movement. Together, the single and visual introduction frame OD as a bridge between club culture and the expressive traditions of modern dance and composition.

A classically trained composer with deep ties to the world of choreography, Daskal has spent recent years creating original scores for institutions including Los Angeles Dance Project and the Royal Danish Ballet, while simultaneously developing a parallel body of work across ambient and experimental electronic music. OD emerges as a convergence of those paths: a ten-track album shaped as much by physical movement and spatial awareness as by club tradition, positioning Daskal between concert hall, black box theater, and late-night club environments.

Recorded and mixed primarily using vintage hardware — including a rare 1980s German mixer in a high-end Tel Aviv jazz studio — OD reflects a deliberate shift away from purely atmospheric writing toward rhythm, repetition, and physicality, while retaining the precision and restraint of his compositional background.

2025 Repress

"Cake" was a New York band formed in 1973, following a line-up tweak and a change from their previous name "Mixed Company» (referring to the racially mixed personell). At Arabellum Studios in Colony, Albany, NY, the band recorded their only 7-inch single. "Make Up Your Mind" / "Let Your Body Go» was released on Key Records in 1979.



Half a life time later, after appearing in DJ mixes and online auctions in the late 2000s, the single started gaining notoriety among DJs and diggers. Working its way up to "holy grail" status on the modern soul and disco collector scene, original copies of the sought after record would eventually sell for as high as $1000.



In 2012, Hans Jørgen Wærner (Mutual Intentions Co-Founder and notorious disco collector) got in touch with Arabellum studio owner Art Snay who produced the record. This lead him to lead singer Bob Treffiletti who had a cassette tape with unreleased long versions of the songs. The sound quality of the tape was not adequate for what Hans had in mind, and so the hunt for the original master tapes began! Unfortunately, Art Snay later passed away. At one point chances of finding the original recordings seemed so slim, the project was all but abandoned….



Luckily, Bob managed to get hold of the master tapes via Art's wife and they were sent away to legendary disco mixer / remixer John Morales, who transferred the tape to digital format. After several rounds in one of Norway's best mastering studios (Strype Audio), noise reduction and sound surgery were done while retaining the soul of the original recordings. The songs were finally ready to be pressed on the format they have always deserved: the 12-inch disco single!



The 12-inch comes with four 5 min + long songs and can be pre-ordered now. The high-quality lacquer cut pressing is produced at Optimal Media in Germany and limited to 300 copies worldwide.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

Hailing from North-west UK, singer and producer Joe Yorke is classed as one of the most promising UK reggae artists of his generation. His exceptional and unique falsetto voice paired with his profound and poetic lyrics have caught the attention of some of the best producers and labels and an ever-growing fanbase. Joe has entered the stage with support from reggae/dub legends such as David Rodigan, Don Letts, Dennis Bovell, Nick Manasseh and Stand High Patrol. His latest single comes via Steppas Records in collaboration with upcoming UK dub producer Yaksha, “Rocking Ship” is a poignant and compassionate commentary on the plight of refugees. Mixed by Alpha Steppa, featuring a heavyweight, stripped back dub mix for company. A crucial 7” for collectors, home listening and sound systems alike.

BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’ and a UK tour to commemorate it during April 2020.

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

Leviathan Whispers is an album of longings, laments, deliriums and drones, savage and sublime. Within are breaths, hums and bone songs for shadows and fl ames to dance to. Tim Hill is an inspirational fi gure within the UK arts, jazz, noise and improv world. A shapeshifting maverick exploring Britain's diverse musical traditions, from rough music to industrial folk, free jazz to dub, post-punk to avant-rock, incorporating ambient electronics, hymns and noise. Having worked with pioneering arts company Welfare State International, Tim’s performed inside Stonehenge, on the back of trucks at Notting Hill Carnival, leading giants through the streets of London, Dublin and Galway, at Olympic Torch events, celebratory feasts and leading humanist funerals. Tim is also festival director for The Sound of the Streets, a charity promoting outdoor music and musical director of the Wye Valley River Festival where he helps street bands across the country including The Big Noise in Taunton and Horns of Plenty in Oxford.

Leviathan Whispers is a spectral, contemplative selection of Tim's recorded work, including material created for art installations, outdoor projects, solo performances and personal meditations. Inspired by landscape and the eternal pull of Blake's Albion, baritone, alto and soprano saxophones are mixed with tape loops, old synths, recycled live recordings, woodwinds and reeds. Other sounds are processed by Colin Potter (Nurse With Wound) and drone artist Jonathan Coleclough. The album artwork and accompanying videos feature sound sculptures by Michael Fairfax (Royal Society of Sculptors) alongside unsettling visuals by fi lm-maker and junk-alchemist David Young. "an amazing player - there's a weight to his music with a wonderfully dark edge" Corey Mwamba / BBC Radio 3 Fans of Colin Stetson, John Surman, Anna Von Hausswolff , William Basinski and La Monte Young will fi nd much to savour on this new 12" LP. LAUNCH PARTY: we're holding a special launch event with a live performance and talk by Tim Hill on Saturday, 15th November inside a beautiful Victorian chapel beneath Royal Berks Hospital, Reading.

Previously unreleased. Both sides with dub.
A-side is mastertape mixes, B-side is the original early 1980s dubplate mixes.
Comes in Bond Export company sleeve.

Killer previously unreleased early 1980s Mighty Diamonds straight from producer Gussie Clarke, tuff steppers cut of the Heptones classic. This tune made the rounds on dubplate back at the time, but never ended up seeing release. On the A-side we have the mastertape mix, a hard but spare mix of this canon JA tune, that recalls the dry and heavy 1980 Taxi style that we've recently issued some fine examples of. On the B-side we have the original dubplate mixes which were around on plate at the time, mixed down in proper plate style like you would have gotten from Slipe Road if you had the juice. Like our previous Tetrack 45, comes on the lovely "Dubwise Made in

Angel Bat Dawid's International Anthem debut The Oracle introduced her multifaceted voice to the world. The response to its modest, initial cassette/digital release in January of 2019 was immediate, and immense. Within a month of its announcement, Dawid was being featured on magazine covers and receiving offers from international festivals; and her subsequent activity marked the beginning of an epic run of creative output (including 2020's LIVE double LP, the same year's EP Transition East, 2021's Hush Harbor Mixtape Vol. 1 Doxology, and the sprawling opus Requiem for Jazz, released in 2023) that continues through the present.

The collection of compositions on The Oracle present a deep blend of powerful and emotive songs alongside heavy and free improvisation. In true DIY fashion, Dawid recorded and mixed the album using only her cell phone.

"Angel's fieldnote approach affirms that the everyday remains a legitimate site of creative production," says South Africa based percussionist, collaborator, and IARC labelmate Asher Gamedze in his liner notes for the album's IA11 Edition. Gamedze - the only other musician to appear on The Oracle besides Dawid, who constructed most of the album's tracks by layering, overdubbing, and arranging lo-fi symphonies of her own voice, wind instruments, percussions, and keyboards - waxes extensively about Dawid's significance in his notes, calling her "a living exemplar and extension of the spacious sonic horizons opened by the likes of the AACM and their refusal of any limitations on their creative vision and the destruction of the demarcation between composer and improviser."
"...a masterpiece, rich with dense improvisation and Afrocentric themes." - Suraya Mohamed, NPR

Mysticisms is delighted to present the music from one of the inspirations for the whole Dubplate series, the lesser known, but admired Digi Dub label. Hailing from the late 80s / early 90s South-East London squat scene, the music of label head Lee Berwick and cohorts was unlike any other at the time. Not simply a retake on digital dub emanating from Jamaica, Digi Dub mixed the heritage of reggae with the alternative-culture of Britain to forge a unique version.

Inspired by punk and the early electronics of the likes of A Certain Ratio, Cabaret Voltaire and Throbbing Gristle, Berwick came to music production later, after first quitting a career as a computer programmer to travel through Asia, returning after several years just as electronic “computer music” was gaining a fundamental new lease in 1988. A regular at Jah Shaka gigs over the burgeoning rave scene of the time, he steadily built a studio centered around the Akai Sampler.

Based, at the time, in South-East London, it’s lack of underground “Tube” lines and challenging transport links, helped create its own social and music eco-system. Squatted houses, shops, clubs and parties all thrived around the triangle of Bermondsey, New Cross and Camberwell. After meeting Kenny Diezel and the Mutoid Waste Company, he started to formulate his “dubby electronic sound” by literally play live to thousands of wide-eyed Ravers at Mutoid Waste parties.

Recording as Launch DAT, the first tracks with Kenny formed, soon joined by Harry and Nick, the trio progressed from building a sound system to L.S. Diezel being created. Friends since their teens Harry and Nik progressed from playing in bands, jamming Sly and Robbie dubs to moving from the countryside of the Home Counties to urban Peckham and into the orbit of Mutoid Waste and the squat and party scene.

Progressing to include Atari S1000HD, Akai S3200XL, Alesis Sequencer and Roland 303, the sound expanded but the raw spirit remained. The early recordings with Berwick, in the beautiful “Lovers style” that is For The Love Of and its stripped-back instrumental “Stepper” dub accompaniment in Bad Boys, as well as an early take on take on the merging of digital dub and hip hop in Skunk Funk, all capture the essence of that London period.

However, the inclusion of the seminal Suicidal Dub, that appeared as the title to their debut album and was recorded on a bus a few years later after Mutoid had relocated to Rimini, Italy, offers a glimpse to the future. Heralded as a proto-dubstep classic it has long been sought after and its inclusion makes for the essential.

Mutate The Mystery.

Released in early 1976, the title track of Bad Company's third album Run With The Pack is, what one critic described as, "a male-bonding type of song" that frontman Paul Rodgers was inspired to write about the group's non-stop touring adventures.

"Run With The Pack" is notable for its string arrangement, which Rodgers said he had in mind from the outset. "I wrote that song on the piano, and when I played it to the guys they fell right in. In my head, strings were always part of the song."

The album was recorded in France using the Rolling Stones Mobile Truck in September 1975 with engineer Ron Nevison, and mixed in Los Angeles by Eddie Kramer.

The Run With The Pack album reached No. 5 on the Billboard 200 and No. 4 on the U.K. chart. It was also Bad Company's third consecutive platinum-selling album.

Rolling Stone, in its review, calls Run With The Pack Bad Company's third and best album, reiterating the raw, rowdy style of their debut, Bad Company.

Cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Because Sound Matters' meticulous One-Step process creates the definitive sounding audiophile version of k.d. lang Ingénue. This all-analog release comes from the original first-generation master tapes for the first time. Vinyl guru and editor Michael Fremer says, "This k.d. One-Step is insane – It's otherworldly great!"

This One-Step version is strictly limited to 3,000 copies. The album is housed inside a top-quality, foil-stamped, uniquely designed numbered slipcase. The enclosed gatefold jacket will feature an "old style" tip-on jacket with the original artwork.

Special care has been taken to faithfully preserve the original sound with exceptional clarity and depth, capturing the recording's nuances and subtleties at every step to create the best sounding record possible.

The One-Step process is highly regarded among audiophiles and collectors for its unparalleled sound fidelity and represents the pinnacle of vinyl manufacturing craftsmanship.

Ingénue was originally released March 17, 1992 and is k.d. lang's second solo album.

Upon release, the album charted at #18 in the US, #13 in Canada, #3 in the UK and Australia and #1 in New Zealand. Nominated for six Grammy® Awards with the breakout single "Constant Craving" winning a Grammy® Award for Best Female Pop Vocal Performance. "Miss Chatelaine" and "The Mind of Love" were follow-up singles.

k.d. received universal critical acclaim for the album from publications like Mojo, Pitchfork, Rolling Stone, Uncut and dozens more! Today, Ingénue is a true classic album and considered one of the great audiophile recordings of the modern era. This One-Step version certainly proves that!

Notes for This Release:

Ingénue was originally recorded and mixed on analogue tape and produced by Greg Penny, Ben Mink and k.d. lang. The original analogue master tapes were directly used as the audio source for this One-Step pressing! This is the first time the analogue tapes have been used as a vinyl source for this brilliant recording. The results are stunning.

Because Sound Matters used the Neotech VR900-D2 180g High-Performance vinyl compound, which is the same as what is known as Super Vinyl – the best in the world.

Chris Bellman at Bernie Grundman Mastering cut the lacquers with meticulous care! He also did the original mastering of the CD release in 1992.

Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of Ingénue ever.

Record Technology, Inc did the pressing – using the exact pressing machine used for so many other One-Step releases. The QC team is constantly monitoring each copy as it comes off the press.

Because Sound Matters' slipcases and gatefold "old style" tip on original art jackets were printed by world-renowned Stoughton Printing Company.

This new all-analogue edition will draw you into the music as never before—at least it did me. The sonic picture is rich, well-textured, harmonically saturated, spatially deep and all the rest of the audiophile buzzwords that no doubt the producers (who include lang) intended to give listeners but until now couldn't fully deliver. The musical flow will have you swooning in your seat. Before the opener 'Save Me' concludes you may already feel overwhelmed and in need of lifting the stylus to catch your emotional breath...What a treat!
-Michael Fremer, Tracking Angle, Music 11/10, Sound 11/10

Steeped in classic dancefloor rhythms and sounds, ARTIFACTUAL RHYTHM presents a re-interpretation of club and DJ music through the lens of a live band with a jazz edge. Tapping into sounds of the 90s and 2000’s while keeping his foot very firmly in the now and beyond, Flood’s new body of work is both for the dancefloor and the listener.

Dubbed 'nu-jazz', 'jazztronica' and 'jazz house music', at its core Alex’s sound takes influence from house, UK garage, drum n’ bass, and broken beat. 'Artifactual' can be defined as 'made by human hands', and that’s exactly what Alex explores with this record; taking sounds and styles that are inherently electronic and giving them new life through the rawness of a live band underpinned by jazz and improvisational explorations. Music made by human hands.

Recorded live in a studio in Naarm / Melbourne and engineered, mixed, and co-produced by Lewis Moody (Energy Exchange Records), the album features a list of some of the finest players 'Down Under' including Erica Tucceri (flute), Finn Rees (keyboards), Dylan Paul (bass), as well as guest vocal features from the lyrical legend Cazeaux O.S.L.O on LIFE IS A RHYTHM, Kara Manasala on UK garage cut DON’T WAIT 4 ME, and New York soul queen Vivian Sessoms heating up some classic house energy on CAN’T GET ENOUGH.

Alexander Flood is one of Australia’s commanding beat-masters, possessing a unique and finessed arsenal of groove, power, and expertise on the drums. Leading his own band from the drum chair, Alex’s music pushes a fresh rhythmic and dynamic realm of live dance music leaning on nu-jazz, deep-house, broken beat, DnB, funk, and experimental sounds. The band has recently featured at Wellington Jazz Festival, Melbourne International Jazz Festival, SXSW Sydney, WOMADelaide, JazzMontez Frankfurt and various clubs across Europe and Australia.

Winning Australia’s Best Up and Coming Drummer Competition in 2016 was just the beginning of Flood’s accelerating trajectory in music. After graduating top of his University jazz degree in 2017, Alex signed with US label Stretch Music to release his debut album HEARTBEAT, followed by his sophomore release The Space Between in 2022. Later that year Alex toured Europe with heavyweight 6x GRAMMY nominee Christian Scott aTunde Adjuah’s band. While in Berlin Flood recorded his third album 'Oscillate' with an all-star lineup including Horatio Luna and Abase, releasing via Jakarta Records in May 2023. In 2023 Alexander was also the recipient of the highly prestigious Young Achiever Award at the Ruby Awards, as well as receiving the Robert Stigwood Fellowship (Government of South Australia).

2024 sees Alex join forces with Atjazz Record Company to release new music from his forthcoming album ARTIFACTUAL RHYTHM, as well as touring his band across Australia, New Zealand, Europe and the UK.

Some notable collaborators of Alex’s include Chief Christian Scott aTunde Adjuah, Abase, Horatio Luna, Atjazz, Vivian Sessoms, Cazeaux O.S.L.O, Nelson Dialect, the ASO, WASO, QSO, as well as working with brands including Red Bull Music and Istanbul Cymbals.

After two pandemically conditioned ‘reaction’ albums - Yay! (2023) and Neigh!! (2024) - a few non-album singles and a compilation album, a downsized and sleek Motorpsycho is back where we all know and love them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety & diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3min-something pop-rockers, to 20mins plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis: commenced Rebis, countdown initiated. Ever closer. Ever sharper... Since the traditional 3 or 4 piece rock band seems to be a dying breed these days, and MP always was a band in flux anyway, a new pragmatic era has begun in the Psychoverse. The band has, in what one might call alchemical terms, been ‘dissolved and purified’, and is by now again reduced to the core two founding members HMR & BS. This is nothing new, it has happened a few times before, but these days they are also the owners and creators of the record company NFGS, which is now the hub of all recorded band activity, and Motorpsycho marks the final severance of existing ties to other labels for the first time in 35 years. If ‘freedom is free of the need to be free’, this is it. Yikes! The minimalist title of the album is then not just easy to remember, it’s also a statement: a new era has begun in the Psychoverse, a state of affairs reflected in execution and details as well as title, if not perhaps, in ambition or size: “Senex psittacus negligit ferulam” *. This is a time of new beginnings for a band that has spent two years consolidating and reseting before charging ahead anew on a new path, trumpets blaring (...and trumpets don’t come much more blaring in the Psychoverse than with this grandiloquent hyperbole. Good fun! ). New day rising indeed. The core band was adroitly helped by a gaggle of greats from all over the Scandinavian musical landscape on these recordings: drummers Ingvald Vassbø and Olaf Olsen, string arranger/violinist Mari Persen, vocalist Thea Grant, and - as usual - honorary psycho, brother Reine Fiske, were all fellow travellers on this musical journey. Motorpsycho was co-produced by the band and Deathprod, and mixed by Andrew Scheps. Motorpsycho are not the best at what they do, they’re the only ones that do what they do. NFGS2025 *: “Senex psittacus negligit ferulam,” or “An old parrot doesn’t mind the stick.”

BASta! is the solo project of double bass player and composer Joris Vanvinckenroye, in which he explores and pushes the limits of the double bass. In this project, using looping and effect pedals, Joris creates an almost orchestral sound, using the full range of his instrument-from the deepest basses to the highest notes. These layered compositions weave complex rhythms and melodies into a rich and compelling soundscape.

The debut album of BASta!, Cycles, was released in 2009 on the label Homerecords.be and marked the beginning of an adventurous journey that brought BASta! to numerous stages, both solo and in collaboration with multidisciplinary productions by Rode Boom and Retina Dance Company, among others. Besides BASta!, Joris has been active for decades in bands such as Aranis, Troissoeur and MOTYK (formerly Flairck), with which he performs internationally, from Mexico to China and from Oman to the United States. He also composes music for dance, theatre and multidisciplinary productions, including Rode Boom's successful production Unknown Evidences, which has been performed over 600 times in France, Morocco and Denmark, among others.

Joris Vanvinckenroye:double bass, Viola da Gamba
Composed and recorded by Joris Vanvinckenroye,
Mixed at Studio Cucurucu by Jesse De Roo
Mastered at Elektropolis by Uwe Teichert
Album produced by Nik Bartsch

SML is bassist Anna Butterss (Jeff Parker, Daniel Villarreal, Makaya McCraven), synthesist Jeremiah Chiu (Ariel Kalma, Marta Sofia-Honer), saxophonist Josh Johnson (Jeff Parker, Makaya McCraven, Nate Mercereau, Marquis Hill), percussionist Booker Stardrum (Amirtha Kidambi, Carl Stone, Lee Ranaldo, Patrick Shiroishi), and guitarist Gregory Uhlmann (Sam Wilkes, Meg Duffy, Perfume Genius). Their debut album Small Medium Large began as a collection of long-form improvisations recorded during two

separate two-night stands at beloved Highland Park venue ETA, a major development site for the burgeoning new LA jazz & improvised music sound, which unfortunately closed its doors permanently at the end of 2023.

The venue, perhaps best known outside of LA for Jeff Parker’s 2022 album Mondays at the Enfield Tennis Academy, was the perfect location for the start of SML, especially given that both bassist Anna Buterss and saxophonist Josh Johnson are in the quartet featured on that record. Small Medium Large was engineered and recorded in stereo direct to Nagra by Bryce Gonzales and compiled, arranged, and edited with additional production, recording, and
studio composition by SML.

While editing, chopping, and rearranging stereo mixed improvisations is hardly a new concept (for a modern and relevant example we can look to Makaya McCraven’s output on IARC) these results are a stunning expansion of the Teo Macero / Miles Davis editing concept explored on classics like Bitches Brew, On The Corner, and Get Up With It. Stylistically though, these recordings have more in common with the proto trance repetitions of Harmonia, and with Holgar Czukay’s re-assemblage technique used in his work with Can. Throw in a supremely intuitive utilization of Susumu Yokota’s floating patterns polyrhythm concept and we have a truly entrancing take on time-clocked electronic rhythms augmenting with live percussion, yet maintaining that elusive human sway.

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

In 2019 the debut album “Attitude” by Lonerider was released, a band that not only features Steve Overland (FM, Solo, Shadowman), Steve Morris (Heartland, Shadowman) and Chris Childs (Thunder) but legendary drummer Simon Kirke of Free and Bad Company fame. The band come across like Bad Company mixed with Shadowman and their debut “Attitude” was loved by many. Lonerider have the feel of that classic Bad Company that we know and love, yet the songs are modern, fresh and vibrant. In 2022, the follow up album titled “Sundown” was released boasting 12 new tracks of classic rock in the same vein as “Attitude”, well why change a winning formula? The band have continued to attract new fans and they have all been eagerly awaiting a third outing and it’s due for release in November, 2024. The album “Down in the Dust is released on 15th November in both CD and limited edition (500 all numbered) double vinyl. The Vinyl will have 3 bonus tracks. This is an extension of what this exciting band have already given us, and it just keeps getting better. The addition of Steve Mann (Lionheart / MSG) adds so much with that Hammond organ vibe, giving it an “old school” feel and yet the band continues to expand on fresh ideas and melodies. There are no fillers here. Once again, the Lonerider lineup excel themselves in giving us another fine release.

Empty Empty is Cinema Paradiso's 3rd album. Cinema Paradiso functions as a trio without a leader, consisting of Kurt Van Herck (Brussels Jazz Orchestra, Dizzie Gillespie Big Band, Bert Joris Quartet), Eric Thielemans (A Snare is a Bell, EARR, Talking About the Weather) and Willem Heylen (KRAKk, Aki, Sargam).

After his guest contributions on several tracks during the recording sessions that resulted in the compilation of the first two albums (Volume I and Volume II), Jozef Dumoulin (Lidlboj, The Red Hill Orchestra, True Company) was involved in the entire creation and recording process of Empty Empty.

Now focusing on original compositions (along with some Indian chants and a piece by Claude Debussy), this album also distinguishes itself from the previous two albums by presenting a new sonic landscape. Blending the rich timbres and textures of both the acoustic and electric sonic worlds of the musicians, we were looking to get a strong, direct, full sound that still retains enough detail and acoustic warmth.

The album was recorded and mixed by Joris Caluwaerts (Stuff) at his Finster Studio in Antwerp.

Due to popular demand "Live In London," the highly anticipated release from legendary British Reggae group Aswad is now in physical form! This album marks a new era for the band, their first feature release in over a decade, making it a poignant moment in their storied career. With the passing of the late great Angus "Drummie Zeb" Gaye, this album stands as a powerful tribute to his memory, indomitable spirit and will for the work to continue. Passionately produced by principal members Tony Gad and Soloman, recorded in the heart of London at the iconic Jazz Cafe, this electrifying album captures the essence of the British-born reggae movement at its finest. Mixed by Christian Cowlin of The Wailers and mastered by Mark Gittins at Sensound Studios, each track from "Babylon" to "Just A Little Herb" shines a beacon on the band's unparalleled musicianship and electrifying stage presence. Don't miss your chance to be part of reggae history and experience the power of Aswad like never before! Exclusively from SMC Records, a division of The Spaine Music Company.

Netherworld Double Gatefold Vinyl in 'Celestial Dust' transparent gold CD / DVD - 5.1 Surround mixed by Jakko M. Jakszyk: 'Storybook' Edition 'Ladies' Double A-Side 7" Single - Ladies Of The Road / Dirty (Black Vinyl) Netherworld A6 illustrated 'Little Stories' book All housed in a Black Textured Box with Gold Hot Foil Embossing Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed_with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense.

Written, recorded, produced and mixed by OMD – Andy McCluskey and Paul Humphreys – ‘English Electric’ is a 12-track letter to technology, space, love and a grand return to form for a band whose 1980 hit ‘Enola Gay’ occupied the world’s stage at last year’s Olympics Opening Ceremony.

As percolating synth-pop is pulled along at different speeds and executed with needle-sharp finesse, late night electro ballads collide with big sounding club cuts on a record which also features three interlude tracks, including dystopian missive ‘Please Remain Seated’ and ‘Decimal’, which is accompanied by this suitably mechanical video, directed by German motion and graphic designer Henning M. Lederer.

As Andy McCluskey says of the album; “the overarching feel tends to be a sense of loss, of melancholia, that things haven’t turned

out the way you wanted them to, whether it be with technology or personal relationships.” The title itself – taken from a British industrial manufacturing company

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

"SUPERCALIDEEPSTATE encapsulates the transformative power of music born from deep introspection and a heightened state of consciousness. Composed over the course of may and june 2022 in the heart of an Iraq base camp. These four tracks emerged as a result of intense meditation sessions, fueled by inspiration and a profound connection to inner peace.

The creative process was marked by an unshakable sense of flow, as if the music itself were a channel for the artist's heightened awareness.

The resulting tracks are a mesmerizing blend of ambient, experimental, and electronic sounds. Each composition is an invitation to explore altered states of consciousness, with the music serving as a portal to uncharted territories of the mind. The album offers a glimpse into Andrea's inner world, where sound, inspiration, and introspection create a deeply moving and spiritually enriching musical journey."

Vinyl Pressing by AFG Media Company.
Produced and mixed by Andrea Carolini.
Mastered by MaSpaventi Studio.
Graphic Project by Studio Natale.

From Northern Ireland and the South of England hail Jetplane Landing - which, for the last two decades has been variously composed of: Jamie Burchell (Bass/Vocals), Raife Burchell (Drums), Andrew Ferris (Vocals/Guitars), Cahir O’Doherty (Guitars/Vocals) and Craig McKean (Drums). Big Scary Monsters are releasing their debut album Zero For Conduct on vinyl this January as well as putting their entire back catalogue back on streaming services. Their debut album ‘Zero For Conduct’, was recorded on an 8-track tape machine in Jamie's parents' garage in Bognor Regis and mixed during engineer Sean Doherty’s downtime in a London studio owned by a diamond mining company. Hailed a 'masterpiece’ (5Ks - Kerrang!) upon its release in 2001 - it contains fan favourites ‘This Is Not Revolution Rock’ and ‘Summer Ends’ and perfectly encapsulates the vitality of the 00's post-hardcore DIY scene that inspired its creation. Deriving their name from the moment a blissed-out Burchell/Ferris witnessed At The Drive-In perform ‘One Armed Scissor’ on their debut British TV performance - “Fuck me Ferris, they sound like a jet plane landing!” - ZFC channels that riotous energy across its heart-felt eleven cuts. Delicate acoustic confessionals sit alongside full-throated math-rock experimentation; this is an album as varied as it is ambitious. Jamie: “We initially set out to track the record during a two-week period Andrew had off from work. At the end of those two weeks, we didn’t even have all the drums recorded let alone the overdubs. So the idea emerged that Ferris and I would drive down every weekend from London to my parents’ house and we would make the album that way. Cut to… one year later…” Andrew: “When I listen back now, I can physically feel the conversations we had on those long drives, all those micro-decisions - getting the songs to be… right. It was a long process, but truthfully I’d have been happy to let it go longer. Jamie gave me so much confidence and pushed me to places I didn’t know I had or even needed to be. It was a really special time.”. Jamie continues, “There was this weird fusion between us musically which seemed to just work.” Fans of Elliot Smith, Nick Drake, J Mascis, and Stephen Malkmus will feel right at home with this lovingly crafted set. Spoiler alert: heavier sounds and bigger rooms were to come for Jetplane but on Zero For Conduct their musical universe feels at once expansive and deeply personal.

Classic black vinyl plus bonus 7"-single with two exclusive tracks! Babydoll is the fifth Rat Columns album and, following 2021's Pacific Kiss, the second to be released on Tough Love. The recordings took place in Perth, Western Australia, partially by engineer Jason Hayles in a 1960's office building that formerly housed the secretarial pool of a successful mattress company, and partially by DW in an industrial unit, and feature the ensemble cast of Taylah McLean, Chris Grunwaldt, Scott Payne, Richard Ingham, Cohen Bourgault and, of course, DW himself. It was then mixed and mastered in Melbourne by Mikey Young and Joseph Carra, respectively. Babydoll seems to mark a return to a murkier, dirgier Rat Columns format. Distortion is fetishized again and many small amplifiers were tortured in the album's production. Tempos have drifted down and the lyrical concerns move ever inward, in an inverse bloom. The mood is dour, introspective, circular, the songs long, and short attention spans are neglected. 'Cerulean Blue' churns through a crystalline memoryscape, homaging low-brow grunge auto-fiction and a partial history of mid-period rave. 'Life In The Jungle' is a fever dream of imperialist wartime fantasy projection. 'Heavenly Assault' attempts a crushing density amid visions of transcendent devotion. 'Virtual Sweden' takes us ever northwards into the frosted tip of Scandinavian détente. 'Babydoll', like 'Cerulean Blue', homages a primarily imagined low-cosmopolitan world of alt-lit digi-poets, bedroom fantasists, underwater prisons for gorgeous, gorgeous girls. 'Bees Make Honey' lets more sophisticated music machines into the conversation, and marks the first use of vocal tuning software on a Rat Columns album, albeit in an avant-amateurist fashion. 'Jane, I Live For You' enters the space-ballad race, dreaming of synthetic folk-rockers, leaning on sampler keybeds in the half-light. 'December' is yet another tribute to fallen Stars, mansions on the hill, winter skin in cashmere sweaters, truth in education, love, faith, (im)purity. In all these respects, it is a classic Rat Columns record. Because all Rat Columns records are classic records.

The recent find of four Joe Graham recordings in the GRC/Aware tapes has shown there was much more to Joe’s talents than the southern soul of his 60s Chant recordings and the synthesiser, electro pop he recorded for various Atlanta labels in the 80s. ‘Higher Than High’ is a soulful disco number featuring a relentless beat. The track already has a strong following, thanks to advance plays in Europe and the UK from DJ Dave Thorley. This track, along with three other numbers, were recorded around 1976 for the GRC stable – just as the company was floundering so badly that the songs were left as unmixed multi-track tapes. Now mixed the demand for this one will be high.

We’ve taken the opportunity of including another excellent, unreleased at the time, recording from the revered John Edwards. ‘It’s Got To Be The Real Thing For Me This Time’ is an uptempo Sam Dees song, unheard until the 1990s release of the first batch of GRC/Aware tapes

This sensational post-Disco, Boogie classic from 1981 gets pulled from deep within the legendary Sam Records company vault, and sees a vinyl-only re-release on 4-time Grammy Award Nominee Kenny Dope's Kay-Dee Records, with his own special re-rubs. What makes the re-issue of this dance floor gem most authentic is Kenny's process that stays true to old school form, both technically and sonically. That is, the song painstakingly taken from the original 24-track multi-track master and mixed down to 1/2" master tape, and then mastered from tape to vinyl. Kenny proves this process needs to be done the way it was back in the day in order to produce a true analog record; not a record that sounds like a cd on vinyl nor mastered from digital files for vinyl. This is unlike what everyone is doing these days and what separates Kay-Dee Records from the rest. Kenny's O'Gutta Dubba, the other remix on the flipside of the vinyl, brings even more of that boogie sound back with all original new live drums, rubber bass and other classic instrumentation. You may very well have heard this single being played by Larry Levan at the Paradise Garage, David Mancuso at The Loft or Tee Scott Better Days. Today, you might hear these remixes at parties like Body & SOUL, 718 Sessions, Bump & Hustle, or many of the specialty radio shows like Kenny Dope's Anything Goes on Rinse FM UK. Originally produced by Gary R. Turnier of Gary's Gang and produced/written by Andre Booth who has also collaborated with Big Daddy Kane, Lords of the Underground and others, a whole new generation of dancefloor devotees will discover this throwback first hand.

Recorded in 1994/95 at PCP Labs. Mixed at Conway Studios. Except "Minus" recorded at G-Son Studios and "Ramshackle" recorded at The Shop, Sunset Sound and Conway Studios and mixed at Conway Studios.

All songs published by Youthless / Kobalt Music Publishing / Dust Brothers Music ASCAP except "Ramshackle", "Lord Only Knows" and "Minus" published by Youthless / Kobalt Music Publishing ASCAP

"Devil's Haircut" contains a sample from "Out Of Sight" (James Brown) published by Fort Knox Music BMI, performed by Them, courtesy of the Decca Record Co.; a sample from "Soul Drums" (Bernard Purdie) published by Tenryk Music BMI, performed by Pretty Purdie, courtesy of Sony Music; and elements from "I Can Only Give You Everything" (Philip Coulter/Thomas Scott) published by Carbert Music ASCAP.

"Hotwax" contains a sample from "Song For Aretha" (Bernard Purdie/Horace Ott/Robert Thiele) published by Tenryk Music/Well Made Music BMI, performed by Pretty Purdie; and a sample from "Up On The Hill" (Monk Higgins/Alexandra Brown) published by Special Agent Co./Tippy Music Publishing ASCAP, performed by Monk Higgins & The Specialties, courtesy of Blue Note Records, a division of Capitol Records, Inc.

"Lord Only Knows" contains elements from "Lookout For Lucy" (Mike Millius/Don Thomas) published by Southern Music Publishing Company, Inc. ASCAP performed by Mike Millius, courtesy of MCA Records, Inc.

"The New Pollution" contains a sample from "Venus" (Brad Baker) published by Sonny Lester Music Publishing Co. ASCAP, performed by Joe Thomas, courtesy of LAC Ltd.

"Jack-ass" contains a sample from "It's All Over Now, Baby Blue" (Bob Dylan) published by Special Rider Music SESAC, performed by Them, courtesy of Decca Record Co.

"Where It's At" contains a sample from "Needle To The Groove" (Embden Toure/Khaleel Kirk) published by Hit And Hold Music, Inc. ASCAP, performed by Mantronix, courtesy of Warlock Records.

"Sissyneck" contains elements from "The Moog And Me" (Dick Hyman) published by Eastlake Music, Inc. ASCAP, performed by Dick Hyman, courtesy of MCA Records, Inc. and elements from "A Part Of Me" (Paris/Taylor) published by Zethus Music, administered by Chappell & Co., Inc. ASCAP. All Rights Reserved. Used by permission.

"Readymade" contains excerpts from "Desafinado" (Antonio Carlos Jobim/Newton Mendonca) published by Bendig Music/Corcovado Corp. BMI, performed by Laurindo Almeida And The Bossa Nova All Stars, courtesy of Blue Note Records, a division of Capitol Records, Inc.

"High 5 (Rock The Catskills)" contains elements from "Mr. Cool" (Vincent Willis) published by Cotillion Music Inc./NAP Publishing Co./ Sylheart Publishing Co., administered by Warner-Tamerlane Publishing Co., Inc. BMI performed by Rasputin's Stash, courtesy of Atlantic Recording Corp., by arrangement with Warner Special Products, Inc.

BBE Music announces the first-ever re-issue of this sun baked folk/jazz hybrid 45 by Louisiana brothers Will & James Ragar. First released in 1981, this private press 7" showcases Will & James' songwriting skills, refined performance and sophisticated compositions. Remastered by Frank Merritt the re-issue has an analogue warmth that the brothers say sounds even more pleasing than the original. Will & James Ragar began as the Will James Band performing on the popular 'Crawfish Circuit' of Southern Louisiana - this circuit included New Orleans, Thibodaux and Baton Rouge. They played blues, rock and jazz combos, covering everything from James Taylor to Jimi Hendrix. Eventually evolving into an acoustic folk-rock duo by the time they entered the studio in 1980. Both tracks on the 45 were recorded at River City studios in Baton Rouge in 1980. The engineer had the Allman Brothers on his list of recording credits, so they felt they were in excellent company. "Bayou Paradise" was an ode to the beauty of Southern Louisiana. The famous Sunshine bridge over wetlands as the sounds of migrating geese echo overhead on their journey down the Mississippi River flyway. The Atchafalaya river basin flows into the Gulf of Mexico near Lafayette creating a large wetland area and lush lakes connected by endless bayous. Miles and miles of lush swamps with many uninhabited areas just waiting to be explored. "Forever" captures the exhilaration of new love, focusing on its intoxication and ecstasy without looking ahead to the reality of a life on the road. The soulful chorus inspires motion and enthusiasm. The shadow of Woodstock had a defining role against tradition. Things were changing socially. Loving someone forever was always part of the dream but seemingly broken in an age of break-ups and divorce. The optimistic hope that "love will survive" was half dream and half pessimistic glance forward at the social trends of relationships that were to follow. The studio band included Will & James. John Smart on keyboards, he's solo on "Forever" was achieved with the Legendary Analog Prophet synth and saturated the studio with rich layers of its distinctive sound, driving the up-tempo chorus. Dave D'Aubin, a versatile bass player whose resonant tone is very present on both songs. Tommy Jefferson is on drums, an alumnus of the Southern University jazz program, the same place Randy Jackson and Billy Cobham studied. Tommy used a tight higher pitch snare drum on the recording, a sound that would soon become very popular, but at that time was a little ahead of the curve. The session was recorded on analogue tape using the 24-track MCI recorder and mixed down to analogue tape for the single. Will & James added vocal harmonies and soaked up the fidelity during mix-down. The release coincides with the long-awaited re-issue of the brothers' album 'Will & James Ragar One'. This much sort after private press long-player was originally released in 1980 and sold locally in a limited run has now been fully remastered by Frank Merritt. BBE Music presents the album in a glorious gatefold with extensive sleeve notes. This time the vinyl will be pressed over 2 discs to produce the best sound possible.

Espen Friberg’s solo album debut. Sun Soon is Espen Friberg´s solo album debut, consisting of eleven compositions made up of synthesizer and field recordings. The album is formed as a collage, with compositions patched on a Serge modular synth and field recordings. The patches portray the mood and wandering in mountains and forests – while at the same time meditating on the area of the Norwegian valley Hallingdal´s local history. The collage technique is something Friberg uses in both his musical and visual art. The album is meditative and exploratory, and at the same time playful and immediate. Trucks, trash cans, flowing streams, lemon soda, horses and wandering mountains, find its place between slow melodies, scratching, sinus tones and bass lines. Dissonances and harmonies come together in gliding transitions and abrupt stops, while an electronic willow flute sings and the sun is rising. The recording is done at Leveld Kunstnartun in Ål in Hallingdal, later mixed and produced in collaboration with Jenny Berger Myhre. The project captures the ambiance in the valley around Leveld, through Espen´s experiences in nature, but also from the paintings of Marianne Røthe Arnesen and Gøsta Munsterhjelm. Espen Friberg is known as an artist, designer, illustrator, cartoon creator and musician, and has received numerous awards and stipends for his work. In the beginning of 2000 he was a part of establishing the design studio Yokoland, but later started his own studio. In addition to his visual practice he has built a sound studio consisting of complex synthesizer systems and a variety of obscure electronical instruments and effect processors. He has been a central person in experimental and electronic music in Norway. He started and runs the record company Take It Easy Policy in collaboration with Emil Høgset, and has been a curator for the concert series Rett Ned. Since 2005 he has participated in a long line of sample albums under different artist names, before releasing his first EP under his own name in 2015. After this he has released six different albums with Øivind Olsen, André Borgen and Marianne Røthe Arnesen. Friberg has been active on the concert stage, both as a solo artist and in different collaborations. 1.Lazy cobweb 2.Wandering mountain 3.Gøsta Munsterhjelm 4.Foggy glow 5.Pasture patch 6.Motor sunup 7.Thirteen paintings 8.Marianne Røthe Arnesen 9.Sinuous river (part one) 10.Sinuous river (part two) 11.Orange moss bridge

More solid UK boogie & brit-funk courtesy of Freestyle Records - this time giving the 12" reissue treatment to short-lived group Cool Runners' 1982 single Checking Out, backed up with sought-after High on a Feeling.

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As Cool Runners' Paul Tattersall recalls, "this single was a follow-up to the "Play The Game (So You Think It Funny) / Hawaiian Dream" 12" which we believe got to around number 60 in the national charts, and was at the time heavily played on the radio by DJ Greg Edwards who sadly passed away earlier this year..." Recorded mixed and mastered then licensed for release to MCA, this initial single also relased in 1982 was voiced by Tony Jackson, then part of Paul Young's backing band as his career took off in the charts. Tony formed part of a string of funk groups throughout the 70s and early 80s - Sweet Dreams, Midnight, Ritz & Indigo - and later went on to be successful as lead singer in Rage.

These tracks "Checking Out" and "High on a Feeling" on the other hand features the vocal talents of Rush Winters, who would go on to record with the likes of Carmel, Yello, D.C.Lee and others. "It received little in the way of promotion by the record company at the time", Tattersall continues "so it has produced a cult following and has become rather sought-after, as few copies were actually released at that time."

After release, Cool Runners' Paul Tattersall and Chris Rodel then played with several different bands, with Chris moving onto double bass. He still plays professionally today as an accomplished jazz bass player. Paul has run a successful musical hire company in North London, with a specialism on synths and keyboards, since the eighties - and continues to this day.

Note price increase and cat number change from last time around. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese who later recorded Don's classic Organic Music Society and Eternal Now LPs invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967-68. Track list: 1. Summer House Sessions 2. Summer House Sessions.