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Reissue of Ella Fitzgerald's 1969 album of funky big-band cover versions,
conducted by and featuring Tommy Flanagan on piano
Ella Fitzgerald singing Eric Clapton's "Sunshine of Your Love", or the Beatles' "Hey
Jude"? Something of a revelation for those who know Fitzgerald as purely a jazz
singer. Ella's pristine clarity of earlier years, now tinged with a throaty worldliness,
is a perfect foil to her choices from the world of rock and pop. It also adds new
depth to such standards as "Give Me the Simple Life", "Old Devil Moon", and Burt
Bachrach's "A House is Not a Home".
Recorded "live", the album is divided into a big band set and Ella with her longtime accompaniment, the Tommy Flanagan trio. Pianist Flanagan is simply one of
the all-time greats. After listening to this, how can you not be a fan of Ella's?
Includes the original liner notes from Norman Granz, who produced this record.

"My aim for my new record was to find really unusual combinations,"
explains Rolf Kühn, in cheerful mood after his last day in the studio
The special attraction of these 13 'Spotlights' emanates from the extraordinary
combination of instruments and styles, and above all from the fact that a group
of virtuoso artists from very different musical backgrounds have come together
to participate in a a project very close to their hearts. The theme running through
and joining up the album is of course the unmistakable sound of Rolf Kühn's
clarinet. Hamilton de Holanda, the distinguished Brazilian expert on the bandolim,
a kind of mandolin, immerses Kühn's clarinet in Latin- sounding melancholy.
Albrecht Mayer, international classical star and solo oboist with the Berlin
Philharmonic, provides a fascinating angle with his highly sensitive playing and
the rich facets of his art. Asja Valcic, the outstanding Croatian cellist, contributes
her impressive, classical virtuosity and daring improvisation, as she races
frantically through the notes with Kühn. Christian Lillinger, the exceptional
percussionist with the Rolf Kühn Unit, adds his wild groove to the mix and 0 like
Berlin bassist Oliver Potratz - accentuates the tense dynamic mood. Ed Motta,
heavyweight Brazilian singer and megastar in his homeland, brings out his
baritone to sound like a synthesizer suffering voltage fluctuations, breathing and
scatting resounding word scraps into Kühn's compositions.

Repress! Long out of print, and even impossible to find on vinyl at the time of its release, Get on Down presents the classic Diamond D debut Stunts, Blunts and Hip Hop. As the album title states, this album is one long party from beginning to end. Diamond shines both on the mic and behind the boards creating one of the greatest Hip Hop albums ever made. Coming in at over an hour long Stunts never has a dull moment, Diamond along with the Psychotic Neurotic's and his D.I.T.C brethren are able to make each song or interlude stand out and play through without any skip worthy moments. Literally each track has such uniqueness to it, each song fits like a piece to the puzzle. Stand out tracks like "Step To Me", "Pass that S#*t" or "Check One, Two" are perfect examples of Diamonds ability to create a different mood from song to song, the rhymes mirror the music almost perfectly. Singles such as "Best Kept Secret" and "Sally Got A One Track Mind" were perfect choices in showcasing the overall feel of the album. Although Diamond D handles the majority of the album's production, others such as Large Professor, Q-Tip, Jazzy Jay, Showbiz, and DJ Mark the 45 King co-produce on several tracks. The music he was making in 1992 cemented Diamond as one of the best producers in the game. This record is true to his heart, and because of the immense quality of its contents, it should be remembered fondly by all lovers of this music. As he puts it "Diamond is Dope Nuff Said"! //

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SIDE D

Durutti Column are still one of the most sought after band of the English post-punk. Since their first album 'The Return Of Durutti Column' (released on Factory in 1980), the guitarist, pianist and composer Vini Reilly has published a series of remarkable albums that filled the gap between new wave and ambient music. Reilly and Bruce Mitchell (who’s been working with such major artists like Simply Red and Rod Stewart) represented the future of the Manchester scene moving forward from the forerunners (Joy Division, A Certain Ratio, etc.) to the new musical heroes (Happy Monday, Stone Roses and the likes).

MATERIALI SONORI invited The Durutti Colurnnat for the first edition of the Greetings Festival in San Giovanni Valdarno in 1985, and build since then a steady relationship with the band. It was precisely Vini Reilly that started the record series 'Greetings' (dedicating to the Belpaese tracks like 'Florence Sunset", "San Giovanni Dawn", 'For Friends In Italy"). Subsequently MATERIALI SONORI dedicated the first cover of the magazine Sonora to Reilly and Mitchell (including a previously unreleased track on the magazine's compact disc)

'Dry' is conceived as a new journey among Vini inventions, through rarefied moods and subterranean streams of sound. The fifteen songs (lasting fifty-five minutes) have been recorded in Manchester in 1990, Vini sits in on guitar and piano, while Mitchell is on electronic and acoustic percussion, other instruments such as the clarinet (played by Zinnia Mitchell-Williams, Bruce's daughter), harmonica, viola and keyboards are also featured on the session. Here, once again, Durutti Column 's music could be defined as half-way between melancholy rock and 'progressive' New Age.

For their first installment, the Chateau Chepere crew brings a diverse EP from ambient house maestra Rai Scott.

Opening the EP is 'Logical Positivism', a deep, driving and cinematic nod to the forest dance floors of the late 90's. On 'Inspired', Rai brings the club in an introspective, melancholic mood. Slower, steady beats with rolling percussions and dreamy pads to shroud the dancers.

Picking up the pace is 'Open Your Eyes', a warm, bitter-sweet piece of house from from her own alter ego Serendipity. The club friendly 2021 rework shifts into an early morning vibe, while keeping it deep and moody. Closing out the EP is the title track 'Anahata Nada', a gorgeous, warm piece of ambient for the chill rooms.

As the tides change and the majesty of the moon once more begins to illuminate our forgotten domain, the hotly-tipped Incus has made the jump to hyperspace and determined that now is the time to unleash his neoteric creation into the macrocosm of music. At the behest of the sonic social masters, "INC.AUDIO" will be deemed a passion project, but in reality it will rip the very fabric of what it means to have a personal creative outlet, curtailing boundaries and expectations alike. Based on the creed of freedom of experimentation, the label will allow Incus and close friends within the industry to share their creative expressions within a familial and contemporary framework free from third-party limitation.

For now we start at the first chapter of the INC.AUDIO narrative, and the inaugural release which comes from the architect himself. His first solo EP contains 4 tracks conceived at home during lockdown, combining new sound design techniques developed through the mediums of trusty Korg Hardware and Ableton live. The end product is a consummate representation of the benefits of free time, reckless abandon and zero red tape.

Kicking off with "Design Your Mind", Incus draws on his longstanding influences collected via years of crate-digging and supporting underground idols in the UK and Ibiza. Shuffling percussion, jittering stabs and percolatin' chords wax and wane, submitting us to the will of its deep, minimal groove with a sultry sensibility. Next is "New Dog Old Tricks", the one with "that" bassline. No holding back from the get-go, the punching percussion is waylaid sporadically by erratic tones and steadied by placid, ambient chords. The charming breakdowns are peculiarized by a haunting saxophone sample, firmly establishing the clear-cut level of advancement and attention to detail achieved by the creator.

"Calm in the Chaos" steps back from straight-up grooving, inviting an equatorial temperature to come and play. Tantalising acid-inclined bass notes perforate the horizon, aiding the insistent percussion and creating a sunny, party-ready disposition infectious as they come. Feel like you're on a beach or in a rainforest? Snap. After the party we finish in the "Morning Haze". Alien-like frequencies and UFO bleepology steer the good ship Incus on this extra-terrestrial journey through the tech-house heavens to its final resting point. The seductive vocal cut adds a beautiful edge to the track, creating a minimal yet also expansive soundscape perfect for disembarkment. So, now you see what INC.AUDIO is all about, why wouldn't you stick around? Fight the bureaucracy and become who you need to be today, not tomorrow.

Regal drops the first remix package from his debut album featuring Slam, PTU and Boston 168.

Involve Records boss Regal presents "RWYS Remixes Pt.01" - the first installment of three immense remix packages from the Spanish techno giant's debut album, "Remember Why You Started". Recruiting international powerhouse duo's Slam, PTU & Boston 168 to rework the earth-shattering originals.

Scotland's luminary duo Slam kicks off with their edit of "She Dances Alone". The pair's distinctive tweak is the alchemization of the kick drum, pivoting into a thunderous force. The kick is paired with claps that ricochet above a determined synth line, while the low-slung baseline mists under twinkling keys and sprinklings of hoover noise, giving the rework an old school feel. Uplifting major notes inject brightness & contrast to the track, with the cunning acid line lingering 'til close.

Next, enigmatic Russian twosome PTU transform "Dealing With My Pain", a once low tempo mid-point track, into a primary dancefloor weapon. This heavily industrialised rendition utilises an incessantly deep bass drum while maintaining the commanding male vocal sample. Blistering hi-hats, and a wildly distorted synth breakdown build a brash and dubious mood. The thumping kick drum drives the track forward, looping electrical elements that ring out from ear to ear, surrounding you with wild noise and energy.

Italy's acid techno aficionado's Boston 168 step up to close with their interpretation of "Fearful Nights". In true style, the duo mould the very start of the track to blend with their signature sound. A bumping kick drum and quintessential 303 manipulate the melody, resulting in a far more venomous composition than the original. Sinister synth stabs slice through the chaos with a hi-hat and snare drum combination for extra effect.

Annie Booth is an Edinburgh-based artist with a gift for mood-painting
and storytelling - A seasoned modern folk singer, performer and
songwriter - with a fair for the nostalgic and the melancholy - she wields
a unique voice in Scotland, bridging genre and infuence with ease, her
restless live performance and songs never cease to capture the listener
with their haunting melodies and infectious arrangements
Recorded over several months at Chem19 Studios and Green Door Booth's debut
album An Unforgiving Light (Last Night From Glasgow/ Scottish Fiction) was
released in 2017 to critical acclaim. It was lauded as Roddy Hart's Record of Note
(BBC Radio Scotland), featured in Vic Galloway's Best Albums of 2017 (BBC
Radio Scotland) and was praised by Jim Gellatly (Amazing Radio). 2018 saw her
perform at the BBC's Quay Sessions and festivals such as XpoNorth, Celtic
Connections and the Kelburn Garden Party.
Adopting a more introspective and atmospheric approach, Booth's 2019 EP
Spectral (Last Night From Glasgow/ Scottish Fiction) displays her poignant
lyricism and haunting vocals at their most raw. The EP was championed by BBC
Radio Scotland, The Skinny and The List, with Booth appearing for a live session
on the BBC's Janice Forsyth Show. Booth was subsequently nominated for a
Scottish Alternative Music Award in the Best Acoustic category late 2019.
The singer-songwriter is also known for her enthusiasm for collaboration. From
2015 to 2020 she performed backing vocals and guitar with prolifc dark- folk
collective Mt. Doubt, touring across Scotland, England and Wales and recording
on numerous records. 2020 saw the release of Clean Living (Last Night From
Glasgow) under the moniker Slow Weather: a vintage-infused EP of alt-rock cowritten with producer extraordinaire Chris McCrory. The release garnered praise
and spins from Steve Lamacq (BBC Radio 6), BBC Radio Scotland and Amazing
Radio as well as features and airplay in the US. Over the years Booth has also
collaborated on tracks with artists such indietronica outft Out of the Swim and
indie pop quintet Wojtek the Bear.

Annie Booth is an Edinburgh-based artist with a gift for mood-painting
and storytelling - A seasoned modern folk singer, performer and
songwriter - with a fair for the nostalgic and the melancholy - she wields
a unique voice in Scotland, bridging genre and infuence with ease, her
restless live performance and songs never cease to capture the listener
with their haunting melodies and infectious arrangements
Recorded over several months at Chem19 Studios and Green Door Booth's debut
album An Unforgiving Light (Last Night From Glasgow/ Scottish Fiction) was
released in 2017 to critical acclaim. It was lauded as Roddy Hart's Record of Note
(BBC Radio Scotland), featured in Vic Galloway's Best Albums of 2017 (BBC
Radio Scotland) and was praised by Jim Gellatly (Amazing Radio). 2018 saw her
perform at the BBC's Quay Sessions and festivals such as XpoNorth, Celtic
Connections and the Kelburn Garden Party.
Adopting a more introspective and atmospheric approach, Booth's 2019 EP
Spectral (Last Night From Glasgow/ Scottish Fiction) displays her poignant
lyricism and haunting vocals at their most raw. The EP was championed by BBC
Radio Scotland, The Skinny and The List, with Booth appearing for a live session
on the BBC's Janice Forsyth Show. Booth was subsequently nominated for a
Scottish Alternative Music Award in the Best Acoustic category late 2019.
The singer-songwriter is also known for her enthusiasm for collaboration. From
2015 to 2020 she performed backing vocals and guitar with prolifc dark- folk
collective Mt. Doubt, touring across Scotland, England and Wales and recording
on numerous records. 2020 saw the release of Clean Living (Last Night From
Glasgow) under the moniker Slow Weather: a vintage-infused EP of alt-rock cowritten with producer extraordinaire Chris McCrory. The release garnered praise
and spins from Steve Lamacq (BBC Radio 6), BBC Radio Scotland and Amazing
Radio as well as features and airplay in the US. Over the years Booth has also
collaborated on tracks with artists such indietronica outft Out of the Swim and
indie pop quintet Wojtek the Bear.

Demon Records is proud to reissue this album as part of the Gary Crowley’s Lost 80s project. This Classic LP
reissue is presented on 140g translucent green vinyl.
The Kane Gang’s 1985 debut album was originally released on Kitchenware Records, where their label-mates
included Prefab Sprout, Hurrah! and The Daintees. ‘The Bad And Lowdown World Of The Kane Gang’
reached #21 in the UK albums chart, and features 4 singles, including #12 charting ‘Closest Thing To Heaven’
and ‘Respect Yourself’ (#21).
Hailing from the North East, The Kane Gang consisted of vocalists Martin Brammer and Paul Woods, plus
multi-instrumentalist Dave Brewis. They made their recording album debut in 1985 with this, their poised,
stylish collection 'The Bad And Lowdown World Of The Kane Gang'.
“I am absolutely cock-a-hoop that it's being given a vinyl re-release under our GC Lost 80s umbrella because
it's an album that I return to regularly. Signed to the uber-cool Kitchenware label, they were an under-rated
band in my opinion whose distinctive sound saw them taking their cue from a raft of Soul Funk greats, and
you can clearly hear that love right across the album. Produced and crafted lovingly by Pete Wingfield and
featuring the likes of P. P. Arnold and Sam Brown on backing vocals, the album is chock-a-block with singles
including the impressive ‘Small Town Creed’ (chart placing No. 60), the sublime ‘Closest Thing To Heaven’
(No. 21), the moody ‘Gun Law’ (No. 53), as well as a delicious cover of the Staple Singers’ ‘Respect Yourself’
(No. 21). I love the entire album but there are also other songs that also stand out for me. The Chic guitar
driven joy of 'How Much Longer' and the dreamy, shimmering 'Crease In His Hat' being two cases in point.
The band would later go on to enjoy success on the American Black R&B chart (which must have thrilled
them personally to bits) and release an equally grand second album in 1987 in 'Miracle’.”

The pair continue to explore their love of Italian film soundtracks and library music with these two fresh offerings. The title track "Acqua" is a joyful upbeat song with a steady 6/8 groove accompanied by optimistic flutes, winding saxophones and a multitude of arpeggiated synthesizers.

The B side, "Tema Cinque", is more like an electro ballad with a hypnotic drum machine that provides the back drop to luscious sweeping pads and a moody soprano saxophone solo. These two tracks give listeners another taste of what's to come from Lorenzo
Morresi and Tenderlonious' forthcoming album, which is due for release on 22a later in 2022.

'Still Life' Carson McHones drittes Album und zweite Veröffentlichung bei Loose Music erscheint Ende Februar. Nach ihrem 2019er Album "Carousel" zählt die aus Austin, Texas kommernde Musikerin zu einer der innovativsten Künstlerinnen aus den Staaten. Inspiriert von u.a. John Cale, The Kinks, Richard und Linda Thompson – gleichgesinnte Künstler der späten 60er und frühen 70er, einer anderen Ära des Übergangs und der Innovation. McHone schrieb die Songs von 'Still Life' in ruhigen Momenten zwischen den Tourneen in ihrer Heimatstadt Austin und nahm sie dann in Ontario mit dem kanadischen Musiker und Produzenten Daniel Romano auf. Diese erstmalige Zusammenarbeit zwischen McHone und Romano offenbart eine unwiderstehliche Dynamik von den präzisen Arrangements bis hin zu den ausgefeilten Lyrics der Songs. 'Still Life' ist mehr als zeitlos, es ist zeitgemäß, von Natur aus modern und ist für Alternative Country Fans ein Highlight!

Esencia are proud to present the third album by Culross Close - Pressure. The album opens with the sound of PRESSURE! a world where synths blend with keys and the visceral expressions of city life. Things then move from minimalist expressions to beat-driven fusion. With searing string and trumpet arrangement courtesy of Yelfris Valdes, To Belong straddles beat-driven fusion and jazz with mastery. Misguided takes things up a notch, with breakneck rhythms and an enchanting melody. The mood changes on Tipping Point, with the quintet heading into psychedelic territory.
Convictions is a sombre piece, laced with keys and heartfelt intentions. Shifts is both delicate and challenging, stirring and settling. The Will To Change is a solo piano piece and the album’s closer, The Will To Change (I,II) showcases Culross Close at their best: playful, considered and able to hold a groove. Enjoy!

Additional Thoughts:
Pressure. The invisible hand that has the potential to propel or paralyse, to create beauty or despair. Pressure mounts. Builds. Until it reaches a tipping point, after which, things shift and change finds us.

Liverpool duo Hannah Merrick and Craig Whittle, aka King Hannah have announced their debut LP I’m Not Sorry, I Was Just Being Me for February 25 via City Slang. The announcement is accompanied by the release of the new single “All Being Fine”. Originally inspired by Smog and noisy, lo-fi 90s bands, the track pulls the listener in immediately with its upbeat on the outside, sinister on the inside atmospherics, coming across like the aural equivalent of the opening of David Lynch’s classic film “Blue Velvet” - the bloody finger lying in the lush green grass. The video’s sun-drenched visual, directed by Whittle, is a perfect pairing, showcasing the band at their best: enigmatic, mysterious, but blackly humorous with it.

Liverpool duo Hannah Merrick and Craig Whittle, aka King Hannah have announced their debut LP I’m Not Sorry, I Was Just Being Me for February 25 via City Slang. The announcement is accompanied by the release of the new single “All Being Fine”. Originally inspired by Smog and noisy, lo-fi 90s bands, the track pulls the listener in immediately with its upbeat on the outside, sinister on the inside atmospherics, coming across like the aural equivalent of the opening of David Lynch’s classic film “Blue Velvet” - the bloody finger lying in the lush green grass. The video’s sun-drenched visual, directed by Whittle, is a perfect pairing, showcasing the band at their best: enigmatic, mysterious, but blackly humorous with it.

Cemento Atlantico is the first recording project by the Italian DJ/producer Alessandro “ToffoloMuzik” Zoffoli, conceived between 2020 and 2021, in an orphaned silence from wandering and social sharing due to the lockdown in this Pandemic era. To be released on vinyl, CD and all digital platforms starting from July 29th, 2021 via Bronson Recordings, the album Rotte Interrotte was born from the need to translate the travel experiences of recent years into music: Morocco, Vietnam, Peru, Cambodia, Colombia, India, Guatemala, Myanmar. At the edge of the world. The sound that fills everyday life is often seen as a foregone background, in reality all its connotations can be explored and ordered to create a melody. Without a shadow of a doubt, the threshold of auditory attention rises by being sent, immersed in cultures and countries other than your own. Among those coordinates, Cemento Atlantico has kidnapped fragments, samples and field recordings from nature, history, road and sacred places. Emotions engraved in the mind with occasional recording means, subsequently manipulated through electronics and rhythmic construction creating a truly unique and contemporary sound and of cultural melting-pot. Zoffoli has written and produced the record (then mastered by Giovanni Versari), also taking care of its artwork. Cemento Atlantico’s logo is made up of the initials “C” and “A”: “The letter ‘A’ indicates the first Ocean I crossed, the Atlantic one, while the letter” C “- represented by a crescent Moon, with no political or religious reference – symbolizes rebirth, the growth of a project or the advent of a new life in many ancient and modern cultures“. Trip hop, dubstep and chillout are intertwined with world music and ethnic elements, as if the starting point was Bristol, rather than Cesenatico, and the arrival point was all to be soundtracked, all to be explored. Following the first extract Umm Bulgares, the new singles taken from the album are Beat ’em Bang, Amazonienne, Blade Runner Zero and El congreso de los Fantasmas. More than an album, Rotte Interrotte is a casket of stories set in time with your eyes closed, in the deep belief that through sound you can imagine the world without seeing it.

The STAR CREATURE vet returns for Part 1 of his 2022 Chicago/Cali/Minn/Moon combo venture this time around bringing MR. ZACKEY FORCE FUNK on vocals. This one spins round like the rings of Saturn. Intimate dancefloor funk. No matter how hard you throw it, it still comes back around.

Making an album is never easy, but throw in a couple of lockdowns and a
singer-songwriter (Gerard Sampaio) with an inoperable brain tumour and
you've got GOOD NEWS, BAD NEWS, an album which spans delicate love
songs and meditations on not being around for much longer
Gerard describes his situation as 'really shit, but good material for writing songs.
At an incredibly tricky time, making this album and the love and support of the
band itself have been a godsend. Like self- administered music therapy'.Never
slipping into self-pity, these songs paint a picture of a man staring into the abyss
with wit and humour. On the raucous POSITIVE he sings about trying to stay
upbeat in the face of his 'cancer journey' and whether being positive all the time is
really such a good idea. SISTER AND BROTHER is a sweet, heart-breaking ballad
to his wife and children. And the title track GOOD NEWS, BAD NEWS describes
the rollercoaster that is 'living scan to scan'.
But before we even get to all that, there's the mesmeric FALL BACK, rousing footstomper OBVIOUS, moody waltz SODIUM GLOW, and CARELESS SHOWDOWNS –
a showcase for the gorgeous vocals of multi- instrumentalist Jen McKee (in
addition to playing cello and accordion).
Recorded remotely during lockdown, Tim Davidson makes a welcome return with
his pedal steel guitar, Jamie Houston lends his keyboard skills, while J.P. Berrie
and Gordon Kyle provide horns throughout, and a sublime muted trumpet solo on
the title track and album closer GOOD NEWS, BAD NEWS.
….The Sweetheart Revue is a six- piece band from Glasgow made up of Jack
Cocker (guitar and vocals, Liam McArdle (bass), Jen McKee (cello, accordion,
piano and vocals), Heather Phillips (violin and vocals), Moshe Price (drums) and
Gerard Sampaio (guitar and lead vocals).
They've been making music together since 2007, always with an emphasis on
harmony, melody and storytelling. Lead singer and songwriter Gerard Sampaio
credits Bill Callahan, Bob Dylan and David Berman as his biggest influences.The
Sweetheart Revue released their first album THE SILENCE AND THE COMMON
SENSE in 2017. They were recently described as 'Scotland's best kept secret'.

Long time hard to find and long awaitedreissue of Chet Baker’s last studio album.
Lyrical, poignant, it shows Chet Baker at his best. Included the original version of Elvis Costello’s “Almost Blue”. Which has become
an all-time classic masterpiece in Chet’s repertoire, also heard on the “Let’s Get lost” soundtrack. HQ re-mastering