Cerca:more music

Paul Carrack is known for his role in the bands Ace, Squeeze (replacing Jools Holland on piano), and Mike & The Mechanics (a side project by Mike Rutherford of Genesis). Next to this collaborations, Carrack has forged a successful solo career in the process. All the songs from his impressive career are now bundled under the Collected series.

Dubbed by the BBC as the "The Man with the Golden Voice" Carrack sang some of the most important songs from bands like Ace (“How Long”), Squeeze (“Tempted”), Mike + The Mechanics ("The Living Years" and "Over My Shoulder") . As a solo musician he recorded hits such as "Don't Shed a Tear", "When You Walk in the Room" and "Don't Dream It's Over". He has served as a session and/or touring musician for the likes of music greats like Elton John, Eric Clapton, B.B. King and The Smiths.

Collected by Paul Carrack, released 8 March 2024, includes the following tracks: "Don't Shed A Tear ", "Love Will Keep Us Alive", "Over My Shoulder ", "Satisfy My Soul " and more.

This version of Collected comes as a 2xLP. This release comes with (a) Insert(s).

Jabu return with ‘A Soft and Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on trip hop to proffer a singular vision between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’ mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influence-wise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious. Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager, ‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back. ‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her, which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda: Majora’s Mask, where someone seeks shelter from the falling moon. Genre: Electronic / Ambient / Dream-pop

Roman Flügel returns to Phantasy with his second release of 2024 on Erol Alkan’s beloved London label, ‘No Solutions EP’. Following on from ‘Hotel Kathargo / Energies’, which garnered a summer of support from a typically diverse array of DJs including Gerd Janson, Jamie Jones and Saoirse, ‘No Solutions’ expands Flügel’s contributions to Phantasy into a triple track delight, another generous expression of his lifelong immersion in electronic music culture.

Transporting the zeitgeist of future-facing, eighties pop production onto modern dance floors, the title track ‘No Solutions’ is a fizzy, escalating ode to some of Flügel’s very earliest musical influences. Playfully channeling the wide-eyed electronics pioneered by The Human League or Soft Cell, it accelerates into a contemporary funhouse of wild oscillations and dreamy melodies.

‘Sapphire’ shifts this sound palette forward, a steady acid-not-acid bubbler that maintains maximum intrigue and pressure, occasionally breaking through its hazy clouds with pillowy breakdowns and a sense of space-age whimsy. Flügel takes the same palette in a different, more exacting direction on ‘Dragged’, spinning a creeping, Krautrock-esque groove that pays homage to the steady, lifting pulse of German kosmische traditions. Lift off!

Drasii is the duo of Chris Kalis and Lisa Armstrong. Since emerging as an offshoot of Chandeliers, denizens of Chicago’s loft party scene, they have been exploring more dance-oriented tempos and song structures equally suited for a large sound system or a pair of headphones.

Influenced by the American midwest electronic music scenes that they came out of, their new 12-inch record, Spirito Celeste (ETC Records, November 15th) combines deft melodic interplay and sublimely danceable rhythms conjuring everything from dreamy ambient, moody acid, and synth pop, to classic house and techno.

James Johnson Jr AKA Kukri is one exceptionally talented electronic music producer, composer and DJ known across the world for his hard as nails techno sound. His calm demeanour belies the massive amounts of energy he creates in his highly technical DJ sets and from within the ethereal beauty of his live performances, with many top-flight DJs swearing by his output, dropping his tracks relentlessly throughout their sets.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got on our heavy duty high explosive under pants for this relentless detonator of a release comin’ at you all the way from across the pond in Ohio, USA. There’s more ruthless techno dynamite in this one release than if you strapped twelvty grenades to a set of decks and pulled all the pins out simultaneously, the roofs are all gonna blow off wherever this one goes KABOOM in clubland. And along-with the three original blast shattering tracks, Lee Holman, making his RIOT Radio Records debut, is on remix shenanigans for the fourth with an aggressively merciless Detroit infused mangling to ignite the crowds even further.

The full digital release also features the original version of ‘Detection’ which Lee Holman accepted an unceasingly intense RIOTous mission to reconstruct.

WARNING: AFTER DETONATION THE RIOT SENTINEL SHALL APPEAR

Lara Sarkissian’s long-awaited debut full-length, ‘Remnants’ is an ornate patchwork of ancient and modern sonic shapes that uses the vernacular of electronic music to reformulate Armenian traditions and memories. Taking digitally modeled instruments (such as the kanun, a large zither, and the duduk, an ancient double reed woodwind instrument), vocals, davul and dhol drums, tenor saxophone (from acclaimed Paris-based player Adrien Soleiman) and myriad electronic elements and techniques, Sarkissian tangles the old and the new, creating an immersive, narrative-driven experience that’s powered by history, mythology and her own familial connection to the West Asian landscape. It’s an album that’s best absorbed like a film; only multiple encounters can reveal its layered themes and references to industrial music, noise, various club styles, ambient and traditional folk.

Born and raised in San Francisco and currently based in Los Angeles, Sarkissian has developed her unique approach to composition over years of relentless experimentation across various disciplines. Her interest in music production initially stemmed from her filmmaking and video editing work, when she began to sculpt her own sound collages and scores to accompany the visuals. Since then, she’s constantly blurred the boundary between dance and experimental music, DJing around the world, producing AV installations and scoring film and video projects that have been exhibited in Berlin’s Gropius Bau, Montréal’s Musée d’art contemporain, the Music Center Los Angeles and other prestigious institutions, and releasing music with labels such as Tresor, Knekelhuis, All Centre, Silva Electronics and CLUB CHAI, the label and event series she co-founded. In recent years, she’s also been able to advance the theory behind her art, publishing a conversation with ethnomusicologist Sylvia Alajaji in the Journal of the Society of Armenian Studies in 2021, and unveiling her methodology in Norient’s ‘This Track Contains Politics – The Culture of Sampling in Experimental Electronica’ a year later.

‘Remnants’ is a new stage in Sarkissian’s evolution as an artist; not only is it her first proper album, but it’s the inaugural release on her new platform btwn Earth+Sky. She sees the label as a place to encourage collaborations between musicians and producers and prioritize sound in visual arts realms, and ‘Remnants’ is the ideal proof of concept. It opens with ‘Heaven, or Paradise; and Hell’, a track that’s inspired by the layout of the Armenian sharakan (or hymn) ‘Aravot Luso’. Sarkissian imagines the original piece’s harmonies and melodies as parts of a dreamy electronic opera, using digital kanun sounds to punctuate her woozy, evocative synths. Soleimen joins on tenor sax in the third act, while Sarkissian repeats the chant and Jace Akira adds ghostly traces of electric guitar and bass. And on the rousing ‘Our Dead Can’t Rest (Old Jugha Flute Dance)’, Sarkissian chops urgent davul and dhol drum rhythms with spine-chilling shvi woodwind sounds lifted from a documentary about Old Jugha. The title is a reference to the moving of graves by Armenian families; the area initially housed over 10,000 elaborately carved khachkars (cross stones), one of which is pictured on the album’s cover, provided by historian Argam Aivazian’s archive.

On ‘Miracle’, Sarkissian samples atmospheres from the post-Soviet Armenian comedy film ‘Կիսանդրի’ (Kisandri). She takes this opportunity to lighten the mood a little, powdering her smudged samples with tightly edited breaks and bass thumps. It’s not until the album’s middle section that the duduk, perhaps Armenia’s best-known instrument, makes its appearance. Its familiar reedy tones, popularized by Djivan Gasparyan on his many Hollywood soundtrack appearances, emerge on ‘Unraveling (Interlude)’, weaving through the acidic ‘Zephyr’ and ‘Far from the eye far from the Heart’, a post-punk inspired stomper. Sarkissian mutates the instrument almost beyond recognition, pitching and layering it into a voice-like wail that creeps between her woody, dancefloor-primed percussion on the former, and turning it into a gentle, ghostly moan on the latter. And she brings ‘Remnants’ to a close with two of her most cryptic tracks, marrying digital kanun strings with Soleiman’s resonant tenor hums on ‘What Solace Can I Give’, and looping the same saxophone sounds until they dissolve into the air on the beatless closer ‘…nothing matters more than touching you although i haven’t touched you yet’.

It’s an album that ties up Sarkissian’s various interests and experiences, finding a romantic, poetic glimmer of light in history’s darkness. But most of all, ‘Remnants’ is about the optimism of starting anew, and rebuilding a life from the pieces of everything that’s been left behind.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

When dub and dope beats entered into an open relationship in the mid-nineties and created a casual hybrid with trip hop, Jean-Yves Prieur aka Kid Loco was one of the first French people to be there. With singles like "She"s My Lover" and "Love Me Sweet" and the album A Grand Love Story, the producer proved himself to be a loverman indeed, with a knack for bedroom moods, charming little melodies and a comforting balance between minimalism and lush arrangements . As a keyboard all-rounder, Guillaume Méténier aka Soul Sugar has been featured on numerous Kid Loco productions for more than twenty years. From the synthesizer to the clavinet, from the Fender Rhodes to the Leslie organ, the "Funky Frenchman" is no stranger to any keyboard instrument. The Hamburg label Echo Beach, which has already issued dub commissions for a number of pop and new wave classics, thought it was time to change that. Dub masters such as Rob Smith, Noiseshaper, Dubmatix, Paolo Baldini and many others remixed for the label. Songs by Martha & The Muffins, The Police, David Bowie, Grace Jones and Robert Palmer, among others. In order to honor the music of Florian Schneider, Ralf Hütter and their respective fellow Kraftwerkers with a dub set, they turned to Kid Loco, who has now established himself as a musical all-rounder, and who immediately invited his long-time accomplice Soul Sugar brought on board. The calculation really worked out.

Who is Isabelle Lewis, anyway?

What kind of music does she make? Is she an opera singer? Does she write pop songs? Does she compose ethereal ambient soundscapes? Does she play chamber music on the violin? Is she producing dark, electronic beats?

Well… yes. But Isabelle Lewis is not so much a person as a project. Isabelle’s debut album, Greetings, credits a trio of composer–performers at its heart: producer Valgeir Sigurðsson, vocalist Benjamin Abel Meirhaeghe, and violinist Elisabeth Klinck. The sound of the elusive Isabelle Lewis is heard most clearly in the push and pull between them, the three-way tension that gives the album its musical and emotional drive.

Each of the three brings more to the collaboration than those epithets might imply. Elisabeth’s solo performance practice incorporates composition, improvisation, live electronics, and a close command of bowing and fingering techniques that make her fiddle sing, whisper or whistle as required. Benjamin is a self-taught countertenor - keening, crooning, and swelling to a voluptuous sensuality—but also an interdisciplinary stage director and performer. Well known for his work as a producer and studio collaborator, and as a composer of scores for film and stage, Valgeir’s solo discography interweaves meticulously crafted electronics, drones, noise, and other digital elements with acoustic instruments and vocals recorded with naked, unflinching clarity.

But the extravagant theatricality Benjamin brings to the aptly titled “Drama”—also featuring a heroic violin solo from Elisabeth—grapples against the thudding bass of the implacable digital backdrop. On “Mother, Shelter Me” Valgeir’s austere and detailed production throws the hushed violin and vocals into stark relief. The result is an exquisitely uncanny juxtaposition of past and present, human and mechanical, like a Rococo treasure viewed under cold fluorescent lights, or an 18th-century automaton slowly opening its clockwork eyes.

Even the lyrics seem somehow out of time. On “O Solitude,” Benjamin goes so far as to quote an entire song by the first great English opera composer, Henry Purcell, verbatim. No stranger to Purcell’s music, which has made its way into Benjamin’s theatrical productions as well, here Isabelle Lewis removes Purcell’s melodies and harmonies and sets the text, Katherine Phillips’s 17th century translation of a poem by Antoine Girard de Saint-Amant, to new music whose heightened, archaic character nevertheless seems haunted by Baroque ghosts.

Throughout the album, the outsized emotions and timeless archetypes of Benjamin’s lyrics feel like relics from some half-forgotten past—from the neatly rhymed couplets of “Fisherman,” a seemingly straightforward (but still somewhat askew) character study, to the abstraction of “Moonshell,” whose words seem like the fragments of some ancient, lost lament. It is just another of many ways in which Isabelle Lewis carefully distorts the listener’s notions of time. On a more micro level, time can stop for a moment of weightless, drifting ambience, and then plunge forward as the cloud of harmonies suddenly lock into tempo with the drop of the bass or the change of a chord. Or else that weightless moment is allowed to be, as in the aptly named prologue and epilogue to these Greetings (“Voicemail”/“…and farewell”), or in the interstitial tracks that bind the album together, connecting its dramatic peaks with expanses of meditative stasis.

The album as a whole is elegantly shaped, swelling from an intimate, interpersonal statement into something deeper and more spacious. The first half of the album leans slightly towards self-contained pop songcraft and ticking beats, while side B jumps off from “O Solitude” into the almost symphonic grandeur of songs like “Moonshell” or the instrumental “Not the water, air, or the dirt.”

But as it progresses, the contrasts only grow more sublime: antique and postmodern, human and machinelike. The ominous weight of the droning sub-bass and trombone (guest player Helgi Hrafn Jónsson) only makes the interplay between vocals and violins (guest player Daniel Pioro joining Elisabeth) seem more delicate and vulnerable. The ethereal string tremolos of “Moonshell” seem to pull against the heavy, shuddering electronics and layers of crooning vocals.

And that, in short, is where you will find Isabelle Lewis. Like an ancient stone archway, or a delicate house of cards, the architecture of Greetings is held together by the tension between opposing forces. Not just in Elisabeth’s playing, Benjamin’s singing, or Valgeir’s arrangements and production but in the conflict and contrast that generates the synergy between them.

Oh—Isabelle says hi, by the way. She’s looking forward to meeting you.

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."

Lex first grabbed our attention following his brilliant release on B2 Recordings which became a staple vibe setter in Jimpster’s DJ sets and Sofa Sessions streams in 2021. Gaining his deep musical knowledge through his own revered record store Radical Soundz, the Greek DJ and producer has been immersed in dance music for over 20 years and considered one of the key figures in the Athens underground house scene. With releases and remixes on labels such as Leng, Samosa, King Street and Black Riot, Lex is making waves internationally with a unique sound that fuses live elements and expansive arrangements taking influence from masters such as Ron Trent but adding a warm, cosmic glow. Fellow Greek artist Locke joins pro- ceedings for this EP bringing his own psychedelic sound garnered from his years playing crazy events taking in South American jungle parties, burning hot African desert raves, the underground clubs of Berlin to the sparkling coastal shores of Baja California. Locke is more than just a DJ. He is a connector, educator and traveler whose soulful music has the crowds chasing the sun as he brings love and celebra- tion to the events he plays.

On title track 7 Day Path we’re treated to a beautiful spacious jam which unfolds across 7 minutes, driving, live percussion keeping the energy high whilst Herbie- esque synth leads help to create a beautifully paced and dynamic arrangement.

Next up we have Italian legend DJ Rocca onboard for a remix of 7 Day Path. The prolific producer and DJ has been a tour de force since the late 90’s collaborating with the likes of Howie B, Dimitri From Paris, Chris Coco, Daniele Baldelli and Jazzanova producing singles, remixes and albums for labels such as Sonar Kollekt- iv, Compost, Classic, Rekids, Futureboogie, !K7, Tirk, International Feel, Defected, Rotters Golf Club and Faze Action Recordings. Here he adds his trademark dubby disco wiggle pushing the original in a jazzy direction with live flute. Definitely one to be heard under the stars on a Croatian beach for maximum Adriatica effect!

Flipping over, things head deeper and darker with See No Ball featuring Locomot- ives, a more straight-up heads-down stripped back club jam with a repeated vocal, funky guitar chops and a smattering of improvised synth and Hammond B3 keeping things jazzy and musical.

Closing out this brilliant EP we have Catch Up With The Sun which drops the BPM’s for a low-slung cosmic jam loaded with good vibes.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

The first in a four-volume retrospective of Kuduro and tarraxinha pioneer DJ ZNOBIA. Incoming unto the world for a very long time from the musseke of Rangel, home of Casa da Mé&e Ju, in the Angolan capital o Ldanda, one if not the pivotal visionary of his country’s music electronic and digital modernism DJ Znobia, o/fum/an inventor. Usually considered the first purveyor of the fluency regarding tarraxinha (drinking in its foundational slow shuffle from the city of Benguela), as well as a main player in free thinking, spontaneous, funny, depressive, silly, melancholic, hilarious all encompassing beats within kuduro, batida, techno and beyond, his influence as a producer, DJ, MC and public fiuce has had a great imprint in Angolan culture for the better part of the last three ecades. This venture went through over 700 tracks of his archive (more than double are lost in the meantime between his and the NNT library) in order to collaboratively select a fiercely representative albeit balanced affair from his production, between instrumentals for sung kuduro, instrumental kuduro/batida, sung and instrumental tarraxinha, and other creative styling from the late 90’s to the mid 2000’s. Forms now heard around the world which started here, with Znobia a decisively influential contributor, along with several of his peers and collaborators, which will be also in evidence in this four volume retrospective. His story is way too far flung for this endeavor to try and make a simple narrative out of it. You have to be him, you have to be within this territory, and we ask of the people who will approach to ask him what has happened with the history of this music and what is the current reality at ground zero Luanda, as he is a mirror and visionary of its streets, in a country with such complicated dynamics and brutal treatment of its citizens. To try to put in a clean slate for this conversation, let’s talk to a genius of street music. Your question. First, here's the opening collection of what we have to share with you.

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

Frenchie King is a veteran artist and producer from the world of Reggae music. He was born in Jamaica and moved to the UK at the age of 12, where he began singing in a church choir. In the late 1960s he formed a church band with two friends called "The Ressurectors". Their music caught the attention of Reggae star Alton Ellis. After meeting Alton a new band formed called "Black Stallion" and their first song on Venture Records was released entitled - "Love Power". Alton was mentor and guiding light for Frenchie and crew; enabling them to jam with a host of Studio One artists.

Frenchie went on to work with noteworthy Reggae arists like: Alton Ellis, Dennis Brown, Dennis Alcapone, Ken Parker, Tito Simon, Dave Barker, Bobby Davis (The Sensations), Ruff Cutt, Owen Gray and Akabu.We didn't tour with Dennis or John Holt but Alton would always call them to the stage to jam, but we did a few shows with Alton sister Hortense Ellis and few other too much to mention...

Moving into the 1980s, Frenchie started a solo career and switched to the label "M1" where he released projects like "Your Entitled" and "Poor Me Natty Dread". During this time he also worked with renowned producer Sid Buckner (Studio One), before taking a brief hiatus; returning to help produce artist Owen Gray. He also wrote the song "Blackbird" for the band Akabu which was released in 1995 on U-Sound. M1 recording produce yours truly under name countryman linkup with the man Ezekiel in Luton hence M1

Moving forward into the 2000s, along with other musical adventures the iconic album "People Had Enough" was released in 2017, along with singles, "Let Us Do Something" and "Dance Cork". On let us do something and dance (kark) is produce by Michael McNeil aka the original jah son , a good musical sou-jah.

Which brings us up to date. In 2023 Frenchie hooked up with The Blackstones. Through this came the opportunity to work with Iron Sound Records and producer Alien Dread. This is the first single on ISR, with a solid Roots vocal track backed by studio band: Alvin Davis, Asha B and Steven Wright. More to follow!

“Suspiria” is a 100% Goblin album, the result of a choral work in which every single musician was inspired at the highest levels.

The band were here able to experiment more with daring and unpredictable combinations of musical instruments such as bouzouki and celesta,tribal percussion, all kinds of sound effects on the voice and on musical instruments, all perfectly combined with the typicalmid-70s progressive and jazz-rock Goblin trademark.

Special edition on blue iris vinyl, including insert with liner notes written by Fabio Capuzzo

The Soul Album is the fourth studio album by American soul singer-songwriter Otis Redding, released in 1966. It features Redding performing songs that he co-wrote, as well as covers of songs by such musicians as Sam Cooke, Eddie Floyd, Roy Head, and Smokey Robinson. Guitarist Steve Cropper contributed guitar on the album and is also credited as the co-author of three tracks. The Soul Album shows Otis Redding moving from strength to strength in a string of high-energy, sweaty soul performances, interspersing his own songs with work by Sam Cooke ("Chain Gang"), Roy Head ("Treat Her Right"), Eddie Floyd ("Everybody Makes a Mistake"), and Smokey Robinson ("It's Growing") and recasting them in his own style, so that they're not "covers" so much as reinterpretations.

An extremely prolific artist, whose work encompasses composition, opera, theatre, radio plays, film or performance, Ergo Phizmiz returns in due time to the Discrepant fold long after his 'Two Quartets' and 'Disco Carousel' - under his given DW Robertson name - albums. A purveyor of the Creative Commons rights, Phizmiz has been deploying much of his work on the ever expanding Free Music Archive directed by WFMU since the early 2000's, creating a sprawling and defiant body of work that defies given and stale notions of sound hierarchies, history and copyright through a process that comprises collage, sampling, reappropriation, songwriting, covers and pretty much any available media with a playful and thoughtful approach.
For this new Discrepant entry, Phizmiz goes back in time to push into the future a number of pieces recorded more than two decades ago creating this perpetual motion outside a linear chronologic progression. Anticipating by almost 20 years the memefication of ASMR videos, 'Selected Ambient & ASMR Works 2001-2003' - itself a pun on the AFX classics - embraces the ambient tag not at its functional face value, but instead as a means to the "evocation of imaginary spaces, and correspondingly the invention of their sonic environments". Collecting recordings from a myriad of instruments - violin, xylophone, banjo, kora, found percussion and so on...-, shortwave radio and field recordings to create loops with different lengths that play with and/or against themselves continuously in a process "(dis)conjunction" not far removed from Feldman's 'Why Patterns?' or hip-hop's sampledelia. A free-floating temporal space that collapses the flashing images of Angelfire pages unto Web 2.0 sense of displacement.

Coming off a successful transatlantic exchange, Brian Kage and his Michigander label keep the momentum, and the collaborative spirit, moving with an EP that hits closer to home. For any Detroit artist, working with Delano Smith would be on the bucket list, as one of the city's original, more influential DJs — before the D developed any of its "waves" — who would come into his own as a producer later to, once again, help mold the Techno City's sound. Make no mistakes about it, this tastemaker had a ripple effect back before techno even had a name, when it was just "progressive" music and mixing. The thing is, the feeling of admiration and respect here is mutual, from the moment Smith first stumbled across one of Kage's records and had to know who was making these sounds. This meeting of the minds happened organically and timely, with Keep 'em Movin’ as the result.

Opening the release is the title track, a driving number with pulsating synth tones and deep, call and response piano stabs. The ever so slightly pitched down vocals are modern and effortlessly cool, a style that resonates with today's dancefloors, but done tastefully, and with lyrical content that sets the record straight about what it really means to represent Detroit.

"D Spirit" takes an ancestral turn. This is spaced-out Detroit techno meets afro deep at its finest. Forward moving keys are bathed in deep, celestial pads as shuffling hats accented by light hand percussion beckon the body to move. Lively marimbas cut through the hypnotic undertones and awaken the senses with soulful appeal. A fluid bassline rumbles beneath while baroque pianos add tension and heighten the atmosphere.

The final track rounds the release out with an exclamation mark. For lovers of Delano Smith's infamous remix of "A

In France: Live at the Nancy Jazz Pulsations Festival (1977) is a previously unissued live recording from the legendary bluesman B.B. King captured by the ORTF in France on October 7, 1977 and released on producer Zev Feldman's Deep Digs label in partnership with Elemental Music and INA France.
The limited-edition 180-gram 2-LP set will be mastered and cut by Matthew Lutthans at The Mastering Lab, and include rare photos by Thierry Trombert, Val Wilmer, Jan Persson and more; plus liner notes by the acclaimed french author Jean Buzeline; and testimonials from fellow blues icons who knew or were inspired by B.B. King.