Cerca:moses

“V I N C E N T” is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress and Moses Sumney but as an artist in his own right, continuously selling out headline tours across the globe with his acclaimed ‘one-man-band’ live shows, and having a billion plus streams across all platforms for his music.

The concept for “V I N C E N T” came about during a solo trip to Los Angeles before 2020. “I just stayed in this house totally on my own, turned my phone off and had some time away from everything to figure out what I wanted to do.” He realised he wanted to tap into the freedom of being a teenager: “back then, I was making music strictly for playfulness, without overthinking it,” he says. “V I N C E N T’s” opening and closing songs underline the sentiment of the new album: the future-jazz of ‘Way Out’ (a playful mini soundtrack in one; a dainty piano motif underscored by a skittering trap beat and serene strings) and the lullaby-styled “Stay A Child”. “I wanted to get back some of that lost innocence of making music purely for pleasure,” he says.

Back in his home studio in the Philippines, with no wifi and an impending global lockdown, FKJ was quite literally cut off from the world, able to explore music’s endless possibilities. “Sometimes I would get into it for the whole night and go to bed when the sun came up.” Out of this freedom comes an expressionistic, touching album that’s impossible to pin down. There’s no more hiding behind a branch of leaves, as he did on the cover of his 2017 debut: “V I N C E N T” marks FKJ out as a crucial new voice. He’s redefining chillout music with his bursts of late-night jazz sax and piano, coupled with his wood-cabin whispery vocals, recalling Bon Iver’s early work, and those Santana-styled guitar flourishes.

Much of “V I N C E N T” is wilfully romantic, sometimes super sexy, and often with its head in the clouds, as on tracks like “Us”, a dreamy ode to his wife June, or “IHM”, which has a 90s hip-hop flavour slowed right down to lights-out tempo. Not entirely a solo record, ((( O )))) appears on ‘Brass Necklace’ – which has the soft power of The Internet and Stevie Wonder’s keys. It’s no wonder that lead single ‘A Moment of Mystery’, featuring Toro Y Moi, has a spacey vibe: while recording in San Francisco together, FKJ, Toro and his keyboard player Tony took some of what Tony called “holy water” – “we shared this bottle and took a bit of a trip,” laughs FKJ. The result is a gentle electronic ode to long-term love that could rival Tame Impala for melodic progginess.

Little Dragon’s Yukimi Nagano vocal, meanwhile, laces its way through the stunning “Can’t Stop”, and there is a call back to FKJ’s dancier beginnings with “Let’s Live”, a galvanising techno-pop number that blends piano, handclaps and soulful vocals to dazzling effect. Each of FKJ’s songs glistens, lambently, with a myriad of ideas but it never sounds overblown or too dizzying.

“V I N C E N T” is a marvel – and testament to the magic that can happen when you dig deep. “This was a challenging record,” he says. “I’m a perfectionist and it’s hard to shake that off. But once I did, and I let the music take over, I felt totally free.”

Driven by Max Cavalera's unrelenting energy, unmistakable growl, and instantly recognizable riffage, the earthy tones and motivational rhythmic bounce of Soulfly maintain a gritty spiritual heart while pushing the boundaries of what's possible in metal. Nowhere is that more apparent than on the four triumphant, redemptive, and crucial eclectic offerings presented in this brand new box set, celebrating the first six years of the band career.

Soulfly (1998) was a riotously heavy escalation of the innovation established on Max's final album with Sepultura, launching a brand-new era. Primitive (2000) and 3 (2002) stomp with tribal groove; Prophecy (2004) is as unsettling but evocative as the tombs of the martyrs across Europe. Max introduced metalheads to the berimbau. His music is brutal yet unapologetically transcendent punk-infused extremity. To commune with the burning muse of metal's shamanistic tribal leader is to envelop oneself inside a post-modern sonic sweat lodge. Brutal riffs, trippy esoteric ritual, unrelenting percussion, primal screams; no matter what Cavalera hammers out on his four-string guitar, it always sets souls free.

SW2 returns to GD4YA after his previous release with Moses Boyd, this time with Joe Armon-Jones & Badwithphones+

Remixes from SP:MC & Hodge

London-based composer/bassist, Daniel Casimir returns with his solo debut album Boxed In, a dynamic collision of pulsing modern jazz and orchestral instrumentation.

Featuring Casimir's quintet of fellow British jazz luminaries, including Nubya Garcia, Moses Boyd, Al MacSween and James Copus, the album astutely bridges traditional and contemporary jazz forms enveloping strings, woodwind & brass arrangements.

Boxed In represents Casimir's debut set of compositions written for orchestra. Despite his interest in writing for orchestra while studying jazz and classical music, attending conservatoires and completing a masters degree at Trinity Laban, he was never given the opportunity or choice to fulfil his aspiration. Casimir notes that as only one of two black musicians in his study cohort the normalisation of the situation made it almost easy to miss its inherent injustice.

Coming up through the essential development foundation Tomorrow's Warriors, Casimir has gone on to feature on all of Nubya Garcia's recorded output to date as well as projects by Makaya McCraven and Ashley Henry and has performed with Lonnie Liston Smith and Jason Rebello amongst others.

This album reflects the experiences of navigating prescribed labels traditionally placed on black musicians. As well as being inspired by Wayne Shorter's hybrid orchestral jazz projects, Boxed In was also influenced by a conversation Casimir had in 2018 with legendary composer and producer Quincy Jones who talked a lot about classical music orchestration.

The album is also inspired by Derek Owusu's book Safe which reflects on the Black British male experience and becomes the broad thematic skeleton of Boxed In with the track Safe split into three parts across the album, the first of which opens proceedings in a purposeful up-tempo style with stylistic touches of Roni Size-esque drum & bass (in part courtesy of producer/polymath Moses Boyd). The album's title track follows, with Garcia's soaring tenor taking lead, followed by New Waters and the introduction of vocalist Ria Moran.

Flute, woodwind and brass melodies envelop Casimir's charming string arrangments on Your Side and Safe Part 2, showing off Casimir's command and ease in an orchestral setting. Get Even and Rewind The Time confirm Casimir's penchant for weaving brooding pop vocals with jazz composition while the fanfaric Into The Truth leads literally into The Truth where Copus and MacSween engage throughout to the track's triumphant close.

The closing track Outro is a lively Afrobeat-tipping style with Casimir's deft bass manoeuverings and large ensemble arrangement on full show.

Legendary A&O 90's album reissued in 2 volumes incl previously unreleased tracks! The vintage UK Dub sound: roots, spirituality and heavy basslines. Bass-music, play LOUD! Incl "Jerusalem", "Stepping Up", "Promised Land", "Great Tribulations", ….

Sam Gendel and Antonia Cytrynowicz didn't set out to make a record – it just happened. LIVE A LITTLE, a collection of songs resulting from one late summer afternoon in Gendel's Los Angeles home, is less an album and more a moment. The ten tracks here were recorded mostly in one sitting, fully improvised, in the order in which they appear. It was the first and last time the songs have been played – a snapshot of an idea, an artifact of inspiration, at once both a beginning and an end. At the time of recording, Cytrynowicz was only eleven years old. The younger sister of Gendel's significant other and creative partner Marcella, Cytrynowicz is an artist in her own way. She has no formal musical training, but is the product of a creative family and is someone who makes art the way many kids do – in the purest way, simply because they are moved to. On LIVE A LITTLE, she spontaneously crafted all the melodies and lyrics on the spot as Gendel played alongside her. Cytrynowicz's musicality is sophisticated, strange, and other-worldly, and the resulting record is experimental jazz colliding with some sort of fantasy universe. Because of that, LIVE A LITTLE is a stand-out amidst Gendel's extensive and varied catalog. Over the years, the multi-instrumentalist has been known for his prolific musical output as both a sought-after collaborator and as a solo artist. During 2021 alone he collaborated with Vampire Weekend, Maggie Rogers, Moses Sumney, Laurie Anderson, and Mach Hommy, as well as released Notes With Attachments with Blake Mills & legendary bassist Pino Palladino. In the same year he also released the 52-track Fresh Bread, as well as the follow-up to the acclaimed Music for Saxophone & Bass Guitar with Sam Wilkes. Then Mouthfeel / Serene, AE-30, Valley Fever Original Score, and singles "Isfahan" and "Neon Blue." LIVE A LITTLE, though, exists on its own island. For one, the majority of Gendel's work under his own name skews instrumental, but here the playfulness of his saxophone and nylon-string guitar work alongside the twinkle of Cytrynowicz's voice. It’s the sound of unapologetic imagination running amok – and really, more than anything, the sound of having fun. Cytrynowicz is the ideal collaborator for Gendel, who throughout his career has remained largely unconcerned with the pageantry and presentation of the music business, instead focused solely on the music-making itself. Here, he found the purest sort of writing partner – he admires Cytrynowicz' "supreme openness," explaining: "Whatever is happening, she's there with you. We really meet right where we are. She's all ears, I'm all ears. I don't even know how to explain what it is. It just works out somehow." LIVE A LITTLE is a series of "what ifs" cascading into one another, off-kilter and experimental, a kaleidoscope of spontaneity and imagination. It's a sweet distillation of the musical present, of daring to follow through on an impulse – what happens when a project is helmed by someone who doesn't have time for second thoughts or self-doubt. The moment is the thing, and LIVE A LITTLE just happens to capture it.

Towards The SeaVery Limited new pressing on Orange/White Galaxy vinyl. This is for Indies only. Chelsea Wolfe's sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk—a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. Her voice similarly haunts and soothes, with words that illuminate life's darker corners in order to reveal the unlikely truth and beauty hidden within. Originally hailing from Northern California, Wolfe's formative years were spent tinkering in her country musician father's home studio, however, she long lacked the confidence to share her work. Then, in 2009, an overseas excursion as part of a nomadic performance troupe ignited her passion for performing and initiated a renewed interest in writing and recording. After performing in cathedrals, basements and old nuclear plants to whoever would listen, she returned home with a new drive. She began toting around an 8-track and recording as the mood hit, eventually editing her findings into a breathtaking debut album, 2010's The Grime & the Glow. Marrying the gentle intimacy of folk, the atmospheric voodoo of death rock, and the bleak, sullen nihilism of black metal, Wolfe's sound effectively cast a genre all her own: a cavernous rumble, marked by stuttering drums, ethereal synths, and a wash of guitar, all very much in the service of one of the most hypnotic, celestial voices in modern music. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as a force on the rise. Inspired, Wolfe then relocated to Los Angeles and recorded her second album, 2011's Apokalypsis, which found her in an actual studio with her live band. The songs captured therein maintained the strikingly visceral elements of her debut, further showcase Wolfe’s unique songwriting ability, while adding a serious heaviness of sound that balanced eloquently with her transcendent voice. Its release was subsequently met with critical adoration, and rightly landed on numerous best of 2011 lists.

Australian hip-hop/neo soul duo SO.Crates are a boom-bap prayer sent live and direct from the heart of two of the culture’s most committed students. The group features Melbourne based beatmaker and DJ Skomes alongside California-via-Adelaide MC & poet Cazeaux O.S.L.O, not to mention the MUSE, a forever changing third party who completes the creative trinity of the Crates. With a legacy built on releasing a steady flow of cold-crush records and delivering uplifting live performances to the party people, SO.Crates prove that hip-hop’s golden era is not a lost date in time, but a foundational state of mind. Functioning as a considered preview of what to expect from the album to follow, the hypnotic first release 'Stars' is an auditory exploration of what happens when two opposing charges collide; the joyful and the melancholy. Here, layers of instrumentation, samples and vocals sit atop a foundation of grounding beats — the track's roots from which piano samples, live trumpet and vocal embellishments spring. "When Skomes gets in his stride, it's always a bit of a happy/sad feeling. It can go either way, like a mood ring", says Cazeaux O.S.L.O. "I guess you could say we make mood ring beats, and 'Stars' is no exception".

Intimacy is manifested in every moment of Radiator, the debut album from Philadelphia’s Sadurn. This feeling of closeness, of being able to lend your every sense to one’s confessions of internal conflict, is due in large part to the circumstances under which this album was created.

Much of the world fell apart in 2020, but Sadurn tucked themselves away in a Pocono’s cabin, creating and recording what would become their first full-length. Within the confines of their close quarters, passing animals as the only auditory witness to a make- shift recording studio created by moving furniture, Sadurn created an album that will break your heart and then slowly piece it back together.

Am 22.04. erscheint ”Epithymia” von Die Andere Seite. Ein erstes Album, aber kein klassisches Debüt, denn: Bis vor kurzem traten Tom Schilling und seine Band noch als Tom Schilling & The Jazz Kids auf und veröffentlichten als solche 2017 das Album ”Vilnius”. Die Besetzung ist zwar weitestgehend gleichgeblieben und auch Moses Schneider ist wieder dabei. Doch mit Die Andere Seite wird in vielfacher Hinsicht ein neues Kapitel aufgeschlagen, was sich auch in den zehn Liedern von ”Epithymia” manifestiert.

”Mir gefällt natürlich, dass ‚Die Andere Seite‘ eine Metapher für den Tod ist. Das passt gut zu einem Sehnsuchts-Album. Wenn man dieses unstillbare Gefühl in sich trägt, erlebt man vieles intensiver, aber
man fühlt sich oft auch fremd und heimatlos in dieser Welt”, so Tom Schilling. ”Ich weiß nur, dass der Kern meiner Sehnsucht letztlich der Wunsch nach innerem Frieden ist. Nach dem Ankommen. Dem Nichts. Zu Ende gedacht also vielleicht die Sehnsucht nach dem Tod.”

”Epithymia” ist ein besonderes, ein intensives, ein herausforderndes Album. Was nicht nur für die Musik gilt. Für das Artwork fand Tom Schilling eine Künstlerin, die seiner Arbeit und seinen Gedanken sehr nahe steht: Natalie Huth, die aus alten Zeitschriften, Zeitungen und Fotografien dunkle, mal Angst einflößende, mal romantische Collagen fertigt, hat nicht nur das Album-Cover gestaltet – sie bebildert jeden Track des Albums mit ihren düsteren Arbeiten.

NAPPYNAPPA is a prolific artist from Washington DC with a highly creative and free approach. ONDAMICUNDERDACOZMIKLYTZ coalesces his expressive hip hop soundscapes with layers of eclectic influences. The album features production from long-time collaborator Black Moses, as well as Pat Cain, Zac Clare, Tooth Choir, Jelani Kwesi and RICTHESUPERSONIC.

NAPPYNAPPA is one half of the group MODEL HOME alongside Pat Cain. He has featured on over twenty albums in the last two years alone, including the celebrated Disciples compilation ‘One Year’, the acclaimed ‘SE’ on Max D’s Future Times label and ‘both feet en th infinite’, released by Don Giovanni Records.

‘Primordial Waters’ is Jamael Dean’s debut album on Stones Throw, following ‘Black Space Tapes’ (2019) and ‘Oblivion’ (2020).

Gatefold double LP. Cover photo by renowned photographer B+ (Brian Cross).

‘Primordial Waters’ sees the prodigiously talented young musician take his explorations in jazz and hip-hop to new heights. Inspired by Orisha stories and Jamael’s Los Angeles roots, the album is heavily infused with Yoruba spirituality and celestial themes. Several of the
tracks interpolate traditional Yoruba songs and feature vocals from frequent collaborator Sharada Shashidhar.


The album was mixed by Leaving Records’ Zeroh and mastered by Grammy Award-winning audio engineer and Low End Theory founder Daddy Kev.

Jamael performed on Kamasi Washington’s 2018 album ‘Heaven and Earth’ and has toured with Thundercat,

Miguel Atwood-Ferguson and Carlos Niño. Extensive touring is planned for 2021 and 2022, including a residency at LA’s Gold Diggers, a double headline bill with Mndsgn at the Jazz Cafe, and several European jazz festivals and club shows in November 2021.

For fans of Sun Ra, The Comet is Coming, Kamasi Washington, Moses Boyd, Joe Armon-Jones, Nubya Garcia, Sons of Kemet, Alice Coltrane.

Alt-R&B singer, songwriter, and producer Marshall Vincent announces his new EP 'In No Particular Order', a collection of five tracks on SA Recordings. Inspired by his time living in Berlin, New York, and Chicago, Marshall weaves together a soulful blend of orchestral, electronic, pop and folk elements to tell stories of life and love in vivid colour. Songs that are a mix of heartfelt ballads, haunting basslines, and dramatic strings draw a strong line to the alternative R&B of Moses Sumney, and the folky inspired songs of Kate Bush. Following a series of EPs that have garnered him critical praise - as well as landing him a support set for Kelsey Lu - In No Particular Order draws upon a multidisciplinary background spanning orchestral and theatrical training to explore the idea of ‘provocative healing’ - the use of pain, conflict, and emotional turmoil to create love, honesty, and intimacy. Sonically, Marshall’s music can be defined as intimate R&B, but there are threads of classical, folk, and electronic present, and all woven together with the aim of honest, universal storytelling. More important than genre is the pursuit of clarity and meaning, and as such, the references found within Marshall’s work are abundant. "I have always been quite sensitive, since I was a child. I also experienced hardships that made me closed off, cold and detached. I had to learn to face my pain. This fight manifested itself into creation. The ability and need to create my own world helped me see myself in others. In a way, it feels no different than the creation of a universe… my mania, my intensity, and my stress go into themselves, and they explode in these moments… sonic textures, movements, visual cues… all acting as tools to put me back together." - Marshall Vincent

Wes Andersons neuester Film ”The French Dispatch” erweckt eine Sammlung von Geschichten aus der
letzten Ausgabe einer amerikanischen Zeitschrift zum Leben, die in einer fiktiven französischen Stadt des
20. Jahrhunderts erschien.
In den Hauptrollen spielen Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray
und Owen Wilson. Der Film feierte im Juli bei den Filmfestspielen von Cannes 2021 in Frankreich Premiere
und wird am 21./22. Oktober weltweit in die Kinos kommen.
Der ”The French Dispatch” OST wird zeitgleich mit dem Kinostart des Films veröffentlicht. Auf dem
eklektischen Soundtrack sind Jarvis Cocker, Grace Jones, Ennio Morricone, Charles Aznavour und viele
andere zu hören.
ab 11.02.2022 auch als 2LP erhältlich

BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM. Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu. After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years. There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador Recording Studios in Kumasi, at that time the country’s largest independent label. On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up- as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here. As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars) , and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players. THE MUSIC A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ. We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa..

Das kanadische Ensemble BADBADNOTGOOD machte sich einen Namen als sie kurzerhand Jazz und HipHop miteinander verbanden - nun kehren sie mit ihrem Debüt auf XL Recordings zu ihren instrumentellen Anfängen zurück! Mit dem Talk Memory reflektieren sie die Geschichte und die Innovationen der Musiker und Komponisten, die sie auf dem Weg zum eigenen Sound beeinflussten. Die Band formte sich 2010 im Humber College Jazz Kurs in Toronto, das feste Trio-Line-Up mit Alexander Sowinski (Drums), Chester Hansen (Bass) und Leland Whitty (Gitarre und Holzbläser) existiert seit 2015. Für die drei ist ein Song ein lebender und atmender Organismus, der sich natürlich entwickelt und je nach Umgebung anders klingt. "Talk Memory" ist ein Album, das ganz in diesem Sinne entstanden ist und markiert auch einen Wechsel vom Ego hin zum Kollektiv, zur Balance und zur Harmonie. Es enthält musikalische Beiträge von Arthur Verocai, Karriem Riggins, Terrace Martin, Laraaji und der gefeierten Harfenistin Brandee Younger, die bereits mit Moses Sumney und Thundercat gearbeitet hat. Die Visuals entwarf Virgil Abloh mit seiner Designfirma Alaska-Alaska_äó, der auch das Albumcover gestaltet hat. "Talk Memory" ist ein Album, das betont, wie Musik als Konversation unabdingbar kollektiv und improvisiert sein muss. Es erinnert dabei an die typischen Momente einer Live Jazz- oder Soul-Show, in der der Frontmann jedes einzelne Bandmitglied vorstellt, um ihm/ihr den gebührenden Applaus zukommen zu lassen. Und so ist ein Album voller tiefer Zuneigung zur Musik und zur Community entstanden.

SOURCE ⧺ WE MOVE finds Garcia reinventing her Mercury Prize-nominated album, Source, through new collaborations with several artists and producers, including; Dengue Dengue Dengue, Georgia Anne Muldrow, DJ Harrison and Moses Boyd. The reworked tracks retain the inspiring musicianship and blend of jazz and other influences found on the original, whilst also moving in a more beat-driven, electronic direction. The full track list is included below.



Garcia’s critically acclaimed debut album, Source, released in August 2020, is included in this year’s Mercury Music Prize shortlist. Garcia will perform at the awards ceremony, broadcast live on the BBC on 9th September.

Faitiche presents, for the first time on vinyl, a selection from the 84-track (!!) remix project originally released in 2013 as a three-tape set by Trip Shrubb aka kptmichigan aka Michael Beckett. Known to many from bands like Tuesday Weld or The Schneider TM Experience, Beckett remixed his way through Harry Smith’s famous Anthology of American Folk Music – a compilation of American folk, blues and country recordings released in 1952, soon to become key point of reference for the emerging folk revival movement. Having translated the title into the local dialect of the part of Germany where he lives, Beckett began reinterpreting all of its 84 tracks using sampler, effect pedals and loops – sometimes making several tracks in a single day. A colossal undertaking whose results are beyond accomplished and that is summed up in the selection of thirteen tracks on 'Trewwer, Leud un Danz'.

Murray Royston-Ward writes about 'Trewwer, Leud un Danz':

"Total sacrilege ... A collection of remixes of tracks from Harry Smith’s Anthology of American Folk Music which was originally released in its entirety. The album is titled Trewwer, Leud un Danz (sorrow, song and dance) which is drawn from an endangered ‘Low German’ dialect (lippisch Platt) and is poetically approximating Smith’s volumes Ballads, Social Music and Songs. 

The hardware employed encompasses analogue, virtual analogue and digital. A primordial soup of electrical fields, striated granulation, micro-circuitry, molecular oscillations and mathematical manipulation; communicating directly with the guitars, zithers, mountain dulcimers, fiddles, jaw harps, banjos, harmonicas and human voices of 1930’s America: itself a reterritorialization of African and European folk traditions that reach back farther and farther into our collective pasts. (…)"

River Lea (a division of Rough Trade) releases Fire Draw Near - an album of
Irish traditional songs and music from the archives, compiled by Ian Lynch
of Dublin band Lankum.
“This LP is a collection of 13 rare, strange and wonderful gems from the Irish
tradition. Recorded in various parts of the country over a period of over 60
years between 1947 and 2013.
They show us a strong, multi-faceted and vibrant musical tradition in the country; one that still exists in the present day. The settings are varied - bars, living rooms, campsites, recording studios - as are the backgrounds of those who
perform.
The music of the Travellers, who tended to the flame of tradition while the rest
of society began to lose interest is well-represented, as are styles ranging from
sean-n s singing in Connemara, Donegal fiddle-playing, uilleann piping from
Dublin and English language singing of ballads both bawdy and beautiful from
across Ireland.” - Ian Lynch.
Fire Draw Near - An Anthology of Traditional Irish Song and Music is the fifth
album to be released by River Lea, following records by Lisa O’Neill, Br ghde
Chaimbeul, Ye Vagabonds and John Francis Flynn.
Fire Draw Near is also a monthly podcast and radio show, hosted by Ian Lynch
which investigates Irish traditional music in all its myriad forms.

Das kanadische Ensemble BADBADNOTGOOD machte sich einen Namen als sie kurzerhand Jazz und HipHop miteinander verbanden - nun kehren sie mit ihrem Debüt auf XL Recordings zu ihren instrumentellen Anfängen zurück! Mit dem Talk Memory reflektieren sie die Geschichte und die Innovationen der Musiker und Komponisten, die sie auf dem Weg zum eigenen Sound beeinflussten. Die Band formte sich 2010 im Humber College Jazz Kurs in Toronto, das feste Trio-Line-Up mit Alexander Sowinski (Drums), Chester Hansen (Bass) und Leland Whitty (Gitarre und Holzbläser) existiert seit 2015. Für die drei ist ein Song ein lebender und atmender Organismus, der sich natürlich entwickelt und je nach Umgebung anders klingt. "Talk Memory" ist ein Album, das ganz in diesem Sinne entstanden ist und markiert auch einen Wechsel vom Ego hin zum Kollektiv, zur Balance und zur Harmonie. Es enthält musikalische Beiträge von Arthur Verocai, Karriem Riggins, Terrace Martin, Laraaji und der gefeierten Harfenistin Brandee Younger, die bereits mit Moses Sumney und Thundercat gearbeitet hat. Die Visuals entwarf Virgil Abloh mit seiner Designfirma Alaska-Alaska_äó, der auch das Albumcover gestaltet hat. "Talk Memory" ist ein Album, das betont, wie Musik als Konversation unabdingbar kollektiv und improvisiert sein muss. Es erinnert dabei an die typischen Momente einer Live Jazz- oder Soul-Show, in der der Frontmann jedes einzelne Bandmitglied vorstellt, um ihm/ihr den gebührenden Applaus zukommen zu lassen. Und so ist ein Album voller tiefer Zuneigung zur Musik und zur Community entstanden.

Birthed in Brooklyn from her home studio during lockdown, producer and stay-at-home DJ Lauren Ritter unveiled her own, newly-minted label Rift Vision last winter with four deep,
glittering, dream-like compositions. As the world begins to re-open, Rift Vision returns with a stellar cast of guest artists to provide their own take on her four originals.
The inimitable Octo Octa kick-starts the project, giving “Vespers” an injection of energy with groovy, bouncy percussion that underpins the track’s warm and buoyant pads. Bumako visionary Jenifa Mayanja gracefully pairs vocals and rhymes from Tenesha The Wordsmith and
JB!! AKA Dirty Moses with warm, floating, and glistening melodies that refresh “Thirst Trap” for the summertime.

This is the first official re-release on vinyl under licensed courtesy of BMG Rights Management,UK, remastered from an original master copy out of the vaults of BMG, originally released in 1972 on Bronze Records.

Co-founder of Colosseum in 1968 with Jon Hiseman, he knew from his Jazz Club years as drummer for Georgie Fame, Dick ran through this group's hectic recording and touring schedule for over 3 years until November 1971, when it disbanded.

In his late 30s at that time, on top of his musical shape, he moved on to start recording on his first solo project, with material left over from Colosseum days (written by D. H.-S., Clem Clempson and Jon Hisemann) and new material jointly composed with well-known lyricist Pete Brown. He recruited the help of Colosseum mates, Hiseman, keyboardist Dave Greenslade and vocalist/bass player Mark Clarke, plus the brilliant ex-Elton John group Caleb Quaye (Hookfoot) on guitars and Rob Tait (ARC, Battered Ornaments) on drums; old pal G. Bond is featured providing remarkable moog work on 'Pirate's Dream', funky organ on 'Moses In The Bullrushourses' and sharing piano duties with Gordon Beck (G.B. Trio, Nucleus) on 'What The Morning Was After'; Paul Williams (Juicy Lucy) gets the lion share of vocal duties, and Chris Farlowe and Chris Spedding (Nucleus, Battered Ornaments) have respectively a sole vocal and a guitar spot on 'Pirate's Dream'.

The album track by track:
Side one starts with 'Future Song', the track that really rises above the other tracks here. The guitar, vocals (by Mark Carke) and sax are great on this one. Killer sax 2 minutes during an excellent instrumental interlude. H.-S. sounds slightly eastern-influenced on his outstanding sax lines. Such an uplifting track with it's repetitive riff and hard, driving sound! Next is 'Crabs', starting off in a mellow way with Greenslade's piano and reserved vocals as the sax joins in followed by guitar and drums as it builds. Irresistable! Great vocals by Paul Williams. One could easily imagine both tracks on a Colosseum album. 'Moses In The Bullrushourses' is uptempo, owing just as much to jazz, blues and hard rock. Great groove! Lots of organ here to send shivers down your spine and perfect guitar playing. 'What The Morning Was After' opens with some sax excursions as the drums help out. Acoustic guitar by Quaye and powerful vocals by Paul Williams take over as the piano joins in. Our second favourite tune on here after the opener. A folky song really until it picks up half-way through.

Side 2 opens with the 11 minutes 'Pirate's Dream', with Farlowe on vocals and Spedding's initial rock blues riff, but soon evolving to a complex multi parted composition in the best spirit of Valentyne Suite, driven by Hiseman multi faceted drumming. D. H.-S. twin saxes soar on a calmer mid section with Spedding doubling the licks and the bass grumbling relentlessly behind; it slowly gains speed with moog, sax and vocalizations duelling and answering each others with dazzling, demanding and inspired phrasings on top a thundering rhythm section; after the lyrics resume it evolves into a majestic, grandiose finale. A bluesy clean guitar lick opens 'Same Old Thing', a swinging, calm heavily modulated twisted blues, with a punchy rhythm section, a soulful Williams on vocal, Quaye delivering an inspired sparkling solo and D. H.-S.'s sensitive fat sax enhanced with some double tracking on the solo part. A great ending to a great album.

Album comes with the reproduction of original gatefold cover sleeve, additional cover-sized insert with band story, lyrics and photos. A highlight! Highly recommended!

Jazz Montez is a music collective from Frankfurt, Germany dedicated to spreading the gospel of jazz throughout the universe. To them, jazz does not describe a particular style of music but an attitude, mindset and an approach to art and life that can manifest itself in a variety of ways. For their first vinyl release, they invited seven of the most talented and ambitious young groups from all over Germany to Frankfurt to record a track in the renowned studio Lotte Lindenberg. Despite the band's various influences, ranging from classic jazz, afrobeat and funk to hip hop, electronic music and rock, "Jazz Montez Presents Vol. I", mixed in its entirety by Drum&Bass legend Kabuki, works as a cohesive album. Pressed on high quality 180g vinyl, the record comes packaged in a beautiful and eco-friendly bagasse gatefold cover, designed by artist Clara Sipf. It features a 20 page booklet that includes a comic on the making of the album, texts by and information on the participating musicians, an interview with the sound engineers and an essay on the contemporary relevance of jazz. May this record inspire us to go through life guided by a spirit of open-mindedness and collaboration so that we may create a better, healthier and more beautiful world.

20 Jahre TURBOSTAAT galt es Anfang 2019 zu Feiern - die Band beschenkte sich selbst mit dem üppigen Livealbum NACHTBROT! Die Alben drei bis sieben der Band charteten allesamt, zweimal davonTop 20 und 2020 "Utlande" erstmals sogar Top 10. Die Live-CD sowie die neue Vinylversion 2021 ist via Cargo erhältlich: Doppel-LP, weißes Vinyl, 140 gr, Klappcover mit 16-seitigen Foro-Booklet in LP-Format! "Rückblickend ist es leider nicht mehr zu beantworten, ob überhaupt jemand von uns zur ersten Probe erschienen wäre, wenn wir damals gewusst hätten, dass das automatisch bedeutet, für die nächsten zwei Jahrzehnte Verpflichtungen zu haben. Unser erstes Konzert spielten wir am 08.05.1999 als eine von drei Bands im Husumer Speicher. Marten war im Besitz eines 8-Spur Tape Recorders, dem Yamaha MT8X, mit dem wir, so gut es eben ging, im Juli 1999 im eigenen Proberaum ein Demo mit fünf Liedern aufnahmen..." Der Rest ist Geschichte, dauert nun schon 20 ereignisreiche Jahre und ist nachzuvollziehen auf "Nachtbrot", dem ersten Turbostaat Live-Album. Aufgenommen bei drei aufeinanderfolgenden Konzerten im April 2018 im Conne Island in Leipzig. Ihr langjähriger Wegbegleiter und Freund Moses Schneider produzierte das Album. "Nachtbrot" liefert eine Zusammenfassung der Bandgeschichte, zusammen mit den stets wichtigsten Bandmitgliedern: ihren Fans. Denn Turbostaat stammen aus einer Szene, in der das Agieren auf Augenhöhe Teil der Definition von Punk ist. Wie immer, seit 20 Jahren, verabschiedet sich Jan nach jeder Show mit dem gleichen Satz: "Danke euch, dass wir das hier machen dürfen".

From Jagjaguar: “Somewhere along the way, I got the idea
that Richard Youngs’s ‘Sapphie’ was all about a dead dog.
“I don’t know if someone insinuated this idea in front of me
or if I psychologically tethered the title to the tenderly
printed dog paw on its cover. Either way, I’ve gone over a
decade thinking this remarkable, windswept album of torch
songs was about a dearly departed pet.
“And yet, as we approached a reissue of this Jagjaguwar
classic and a new, reimagined version by artists Hypnotic
Brass Ensemble, Moses Sumney, Sharon Van Etten, and
Perfume Genius, Richard Youngs was straightforward and
unsentimental about its meanings. ‘The lyrics are not
about anything in particular,’ Youngs wrote.
“The paw prints on the cover are, in fact, that of a friend’s
dog (‘The first dog I ever loved,’ Richard said), but there is
no devastating loss at its center.
“And so, I want to tell Richard how this album has become
a centering album for a great many of us, a transcendent
and meditative piece of art.
“‘What does ‘the mindfulness drill’ have to do with it?’
Richard asks me dryly in a note.
“It’s about being relentlessly present, Richard. It’s how
when we listen to your album, we feel like a lonely traveler
in a foreign country. How everything has a newness to it
and there’s no one to share it with but the you inside of
you. And that fine, fine line is where ‘Sapphie’ lives,
Richard. Thank you for this, Richard.”
A reimagining of Richard Youngs’ ‘Sapphie’ with
instrumentals from Hypnotic Brass Ensemble and vocal
contributions from Moses Sumney, Perfume Genius and
Sharon Van Etten.
Available on Opaque Black & White Explosion vinyl.

South London’s Oscar Jerome announced his highly-anticipated debut album ‘Breathe Deep’, due for release on July 10th 2020 via Caroline International.

A staple of the capital’s burgeoning jazz scene – previously collaborating with everyone from Shabaka Hutchings to Moses Boyd and Yussef Dayes – the ‘Breathe Deep’ LP sees Oscar bring in an army of collaborators that he says have been an integral part of his journey so far. Other guests include friends in Ezra Collective, Sons of Kemet and Maisha, as well as the critically acclaimed singer-songwriter Lianne La Havas. The record arrives off the back of a fast-growing catalogue that’s seen the Norwich-born guitarist and vocalist pick up frequent support and playlisting from the likes of 6 Music, Radio 1 and 1Xtra and embark on packed-out tours around the US, UK, Europe and Australia (including a tour with American jazz maestro Kamasi Washington and his biggest headliner to date at London’s Heaven).

Talking about his debut album, Oscar says: “‘Breathe Deep’ is a pretty broad presentation of who I am musically and my journey to get to this point. On a personal level, it’s a reflection of the effort put in during that path of self-bettering, both emotionally and in life more broadly. It’s about preparing oneself for failure and growing from that. Taking a moment to step back and see where things are going and where one has been. It also addresses the resilience of people, which is reflected in the more political moments on the album. The world is a messed up place but people still find ways of preparing themselves for it.”

Sam Gendel’s new album, DRM, is the follow-up to his Nonesuch debut, Satin Doll, released earlier this year. DRM features Gendel’s solo musical experiments with vintage instruments such as a forty-year-old Electro Harmonix DRM32 drum machine, antique synthesizers, and a sixty-year-old nylon-string guitar — accompanied by his voice. While Satin Doll was a futuristic homage to classic jazz, DRM includes just one cover song: Lil Nas X’s ‘Old Town Road’, which Gendel interprets as an instrumental, playing the melody on an old German analogue synthesizer. The album’s accompanying short films were directed by Marcella Cytrynowicz and filmed at various locations around Gendel’s home state of California during COVID lockdown.



“I’m imagining people listening to DRM and thinking, ‘What the hell is this?’, like they’d just encountered some sailing ship in the sky,” Gendel says of the new work. “I imagine it as if someone many years into the future listened to the popular music of today and then tried to recreate it, without any of the tools or the understanding. Stylistically, it’s not too far from so much contemporary pop-rap music that you hear on the radio. A lot of those electronic backgrounds and instrumentals you hear today are tending towards something really out-there and experimental. It’s rhythmic and pointillistic, collaging different, seemingly unfitting elements together in cool ways. The visuals aren’t necessarily dictated by the music, but they both share the same slightly surreal feel, like I’m a video game character, inhabiting all these different backgrounds,” says Gendel.



Gendel is best known as a world-class saxophonist — it’s the instrument with which he’s led most of his bands, as well as the instrument on which he’s guested with the likes of Vampire Weekend, Ry Cooder, Moses Sumney, Sam Amidon, and Louis Cole’s Knower — but DRM is saxophone-free. “There was no active effort on my part not to include it; it just wasn’t part of the equation when I started recording it,” he says. “I just found a formula, working around this DRM32 drum machine, and rolled with it. I don’t consider myself just a saxophonist, I’m just someone who works in music.”



DRM was recorded in one sixteen-hour session, and then manipulated by Gendel with electronic percussionist Philippe Melanson. It was mixed by Blake Mills, and mastered by Grammy-nominated engineer Mike Bozzi. Gendel’s previous discography includes 2018’s Music for Saxofone & Bass Guitar with bassist Sam Wilkes, 4444, and Satin Doll, which the Los Angeles Times called “a woozy, blissfully twisted album.” He also performs on two other Nonesuch releases this month: Joachim Cooder’s Over That Road I’m Bound and Sam Amidon’s new self-titled album.

LA-based producer, composer, songwriter and multi-instrumentalist James McAlister is a rare creator, and highly sought after collaborator. Perhaps best known for his work with Sufjan Stevens , McAlister has also appeared on record with Lorde amongst many others, and is a regular contributor to Aaron Dessner 's projects, including the latest albums from Taylor Swift, folklore and evermore . His regular work with film music includes The Two Popes, The Big Sick, and Ron Simonsen 's recent films. In 2018 he joined Stevens, Casey Foubert , St. Vincent and Moses Sumney for the Oscar performance for music from Call Me By Your Name, where he played piano and a bottle of cupcake sprinkles. With nearly countless projects to his name, it was in 2017 that his collaboration with Stevens, Nico Muhly, and Bryce Dessner entitled Planetarium was released by 4AD. Around the same time McAlister started a deep dive into a personal sonic realm that has manifested as an ambient project under his own name. 2018 saw the release of Three Breaths , the first offering from this exploration. 2021 will see the second installment, an album called Scissortail which vividly puts McAlister's evolving master craft on display. It is a collection of moving, meditative, immediately satisfying and quietly stunning work. It is the sound of an artist letting go entirely of pre-conceptions or expectations, instead mining the depths of that very real and abstract place of sound, texture, color and feeling. Some songs arrive almost intuitively, while others feel mechanically made, fed through the framework of synthesizers and the patchwork of recording gear. And with that comes a compelling duality to the work; a machine grace informing the on-going but subconscious dialogue between energy and material, sensitivity and asceticism.

‘Assembly’ is the first new Joe Strummer title to be released on Dark Horse Records.
Designed as a new starting point to the Joe Strummer’s catalog it includes 13 tracks from Strummer’s solo career, along with two live versions of the classic Clash songs Rudie Can’t Fail & I Fought The Law and a previously unreleased acoustic version of Junco Partner – making a total of 16 tracks. Other tracks come from Strummer’s extensive solo catalog including his three albums with ‘The Mescaleros’.
Founded in 1974 by George Harrison Dark Horse Records has long been a home for Freedom Fighters, Storytellers and Troubadour’s, words that can be used to describe Joe Strummer, making Dark Horse Records to perfect home to appreciate and expand Strummer’s incredible legacy across, music, politics, and culture.

‘Assembly’ is the first new Joe Strummer title to be released on Dark Horse Records.
Designed as a new starting point to the Joe Strummer’s catalog it includes 13 tracks from Strummer’s solo career, along with two live versions of the classic Clash songs Rudie Can’t Fail & I Fought The Law and a previously unreleased acoustic version of Junco Partner – making a total of 16 tracks. Other tracks come from Strummer’s extensive solo catalog including his three albums with ‘The Mescaleros’.
Founded in 1974 by George Harrison Dark Horse Records has long been a home for Freedom Fighters, Storytellers and Troubadour’s, words that can be used to describe Joe Strummer, making Dark Horse Records to perfect home to appreciate and expand Strummer’s incredible legacy across, music, politics, and culture.

Binker Golding (the sax in Binker and Moses) is “Coltranesque” according to John Fordham for The Guardian, and this record sees him forging a new partnership with Elliot Galvin, whose “technical brilliance is matched with a very British sense of eccentricity” (The Jazz Mann).

A jazz musician playing spirituals? In a sense that is what Louis
Armstrong has been doing all along. Anyone who has ever read a
history of jazz knows that there’s supposed to be a relationship
between jazz and spirituals, jazz and work songs, jazz and the
blues. The patterns which the sax and reed sections use in swing
band arrangements are drawn from the “call” (the preacher) and
“response” (the congregation) patterns used in churches. This
album clearly shows Armstrong’s heritage and what an outstanding
and versatile musician he was.

Apifera is the new project of Yuval Havkin aka Rejoicer (keys), Nitai Hershkovits (keys), Amir Bresler (drums) and Yonatan Albalak (bass), the latest addition to Stones Throw’s growing roster of talented jazz musicians. Rejoicer has released two albums on Stones Throw. Hershkovits has played in a trio with ECM Records musician Avishai Cohen.

The quartet have previously played together for Rejoicer’s albums ‘Energy Dreams’ and ‘Spiritual Sleaze’ and collaborated with funk legend Steve Arrington on his upcoming album ‘Down To The Lowest Terms: The Soul Sessions’.

Apifera create organic-sounding structures, harmonies and arrangements intended to reflect the rich variety and equilibrium of the natural world.

Working intuitively, the quartet wrote and recorded ‘Overstand’ mostly live in just three days and the final album includes minimal overdubbing.

Drawing on real-life spiritual and psychedelic experiences, often intertwined with nature, as a springboard for their music, Apifera showcase a sound that is free, improvisatory and live.

For fans of Moses Boyd, Teebs, Kamaal Williams, Sam Gendel, John Carroll Kirby, Sam Wilkes, Carlos Niño, Rejoicer.

Young, Gifted and Black is considered as one of Franklin’s best projects, and a leader in Pro Black Movement albums in the 70’s. Beginning her most Soulful period, the album includes the title track, “Rock Steady” and “Day Dreaming”, pressed here onto burn orange vinyl.

We were playing the track ‘Common Ground’ out and it was getting the dance floor hot! It was an instrumental at the time and Renato Paris was in the dance (a singer that EVM has been working with, plays keys with Moses Boyd and is one of Gilles Peterson's one to watch) he came up and asked, “What's This?” grabbed the mic, peak time and layed down this dope freestyle vocal, it was a jaw drop kinda moment for us all! That was it, we had to make it happen! So we linked up Renato and Duke and it became the lead track on the EP. An infectious song that literally drips in soul and future R&B, and just fits perfectly over the strings on this killer broken beat track! It’s one that will stick in your head and make you play it twice!

The whole EP is nothing short of quality. From the sultry jazzy Bruk vibes of '2017 Heat Wave' to the monstrous club track ‘ Nighthawks’ an up front stomper with live drums and a bassline that'll make you shiver inside that funky top line.

‘Got My 606 Back’ has been getting rinsed by the Summer dance Forever crew’s KC The Funkaholic and was well received by dancers worldwide when it was used for an SDF promo earlier in the year. We’ve since had many of them asking when this is coming out! This one is a real body mover, sweat towel advised!

Finishing up on ‘IFZ Shuffle’ a wicked little house shuffler that almost takes you back to the 90’s. It has this sweet piano breakdown that then introduces synths and congas until the groove kicks back in again. This track and the whole EP for that matter, works in a multitude of situations. It wont fail!

Mica Paris is back with Gospel, returning to her roots with an album inspired by legends of the genre and the experiences of her life. Featuring classic Gospel hits such as “Oh Happy Day” and “Something Inside (So Strong)”, combined with more recent songs such as Rag ‘n’ Bone Man’s “Human”, interpreted with a soulful flair, the album portrays a message of hopefulness throughout. The album also features original tracks “Mama Said” and “The Struggle” which are an emotional insight into Paris’ experiences, re-enforcing the message of hope and power in self-belief present throughout the album.

Raised in the world of Gospel by her grandparents, Mica Paris has been a powerhouse of the genre from a young age. Having been brought up surrounded by music, and after regular appearances at her local church, Paris began to establish herself as an artist, appearing as a backing vocalist on Hollywood Beyond’s 1985 album, If. At the age of 19, Paris released her debut solo album in 1988, entitled So Good, which has since gone to achieve Platinum certification. Now released on vinyl 5th February 2021