Search:musicians

»Arches« is the first collaborative album by brothers Simon and Tobias Lanz. It was written for and performed on self-built prototypes of wind instruments that were inspired by the classic pipe organ, but allowed the two composer-performers to go beyond its limitations in several ways. The music on this 40-minute long album for the Swiss Hallow Ground label was conceived and recorded by the two co-founders of the CRTTR collective and label during an artist residency in May 2022 in their home town of Bern. More than a mere document of a performance however, »Arches« combines the artists’ interest in exploring uncharted new creative and tonal ground inside of and beyond the realm of drone music with their background in visual art and design as a conceptually concise whole.

Simon and Tobias have a combined background in electronic music as well as a shared penchant for drone music. They hence designed these novel instruments in a way that allows for microtonal tuning to be able to overcome the restrictions inherent to the dominance of a twelve tone-based scale in Western music and work with a sonic palette that is much wider and nuanced than that of the conventional pipe organ. Furthermore, the physical design of these instruments widely differs from that of those which inspired them. This allows—or more precisely, forces—the musicians to freely invent and explore entirely novel playing techniques.

These factors, of course, also have an impact on the compositional process, which by design needs to be unconventional. The Lanz brothers worked with a graphic score for the four movements of the piece that forms »Arches« so as to adequately visualise the manifold tonal nuances of their instruments. This graphic score in turn was reinterpreted for the album release by Ramon Keiming, adding another dimension to it. Read from left to right, this remix of the score allows the listeners to follow an interpretation of the evolution of these dronescapes while the record plays, urging them to add their own interpretation.

This retroactive visualisation and thus spatialisation of the music is perfectly in line with its performance, which at all times factored in the acoustic affordances of the Prozess Bar in Bern. In many different ways, the Lanz brothers now invite their audience to join them there and explore the near-infinite possibilities of their curious instruments together with them. Much like Hallow Ground label mates such as Kali Malone or FUJI||||||||||TA, they are dedicated to enriching and expanding upon the musical and sonic qualities of pipe organs, but with widely different aesthetical results. To call »Arches« a unique record with an unheard-of sound is not hyperbole, but only factually correct.

Collecting orders for repress!

Afro Dub Funk & Punk Of Recreational Records '81-‘82

Emotional Rescue returns to what it does best by unearthing musical gems of the British post punk scene with a double pack compilation of Bristol's short lived Recreational Records.

Teaming up with Bristol Archive Records, 10 songs are remastered, reissued and cut loud for DJs and collectors. What is most striking is, although created in the space of just two years, with a disparate collection of artists, musicians and producers coming together, the music holds a considerable cohesive sound.

Set up in 1981 by Bristol based shop, Revolver Records, Recreational was formed as an independent label with its own distribution, as part of the co-operative, Cartel. The label was a natural progression from the shop's punk's DIY aesthetic, acting as a hang out and inspiration for local artists from Mark Stewart to later staff member, Daddy G.

'Get It Right' starts with a one-off project in Scream + Dance, who similarly, alongside local bands Glaxo Babies, Maximum Joy and Rip Rig & Panic, explored post-punk with funk and jazz all underpinned with heavy tribal and dub influenced rhythms. 'In Rhythm', with its infectious groove, acts as a call to arms for the compilation, coming in two parts, the latter dropping away to explore the links with dub.

Next is possibly the label's biggest band in Talisman, going on to be active up to today, their release 'Run Come Girl / Wicked Dem' are both featured in long 12" mixes that explore the classic 'discomix' of vocal and dub in longform.

Animal Magic lead with the pack's title, 'Get It Right' a short-driven punk funk burst that captures the label's sound to perfection. However, much of the compilation is given over to the more experimental side of the bands, with a high percentage the B sides where they headed to the mixing desk for echo chambered dub inspired versions.

X-Certs' 'Untogether; Electric Guitars' 'Don't Wake The Baby' and Animal Magic's 'Trash The Blad' are culled from the flips of various 7" singles and all are a fusion of percussive rhythms, studio trickery and dub inspired techniques, played out against the "Do it Yourself" aesthetic of the time.

To complete is London based, soukous, kwela and afrobeat inspired collective, Ivory Coasters' 'Mungaka Makossa' and two rhythmic curveballs by Scream + Dance in 'Giocometti (Wicked Mix)' and their riotous (and short) closer, 'In Pink & Black'. "Get it right this time, get it right!".

Artists like Jalen Ngonda come around once in a lifetime, so it is our privilege and distinct pleasure to announce the release of his debut album Come Around and Love Me.


Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm-disarming packed rooms of rowdy concert goers, leaving them silent as they hold fast to every syllable sung. Plans for the album were struck just months before the COVID 19 pandemic shut the world down. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family.

The team skillfully blends heavy arrangements and introspective lyrics with motown sophistication, leaving the listener in a blissful wash of wonderment. Jalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, "I love music from the 20th century- I listen to it all the time, but I?m in this world and the 21st century. ...to a stranger, I?d describe my music as modern soul and R&B, while trying to fit in the Beach Boys and the Beatles somewhere in between." Come Around and Love Me reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation-leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone?s hallmark.
Now it's your turn to come around and love one of the finest soul albums of the decade.

Behind the alias GO.SOUL.MAP. hides Salvo 'Dub', one of the most authentic and purest talents with a marked sensitivity,
not only artistic, of the current music scene in Catania, of which, under other guises and names, he has been an indispensable pillar for over a decade.

The debut album of this project is anticipated by two preview tracks that will be released not only digitally, but also in physical format on 7" / 45 rpm.

The launch single is 'Pushing', an explosive track in a Nu-disco key, modern but firmly rooted in the past, with a production that enhances the sound of the keyboards; full of 70s/80s Funk and Soul, it also has a Disco-Pop vein that makes it perfect for radio. The track is excellently performed by Derane Obika of Living Sounds. A Londoner of Nigerian origin, as well as an exceptional singer, Derane is also the author of the song's melodic lines and lyrics, which can be interpreted as a dialogue between an imaginary interlocutor and his spiritual guide journeying through the maze of life.

The 'Pushing' 45 will feature as a B-side an exclusive instrumental version (the one sung by Reiwa Pia will be included on the full-length) of 'Back In The Underwater', a track that combines a Hip-Pop groove with cinematic atmospheres.

GO.SOUL.MAP.'s debut album is titled 'Peaceful Sound for Broken Minds' and is scheduled for release February 28th 2024, a little gem in which pop and soul intersect and the clichés between mainstream and underground leap. A SpaceNu-Disco, Soul and R&B journey in which Derane Obika's fundamental contribution to the lyrics and melodies of no less than nine tracks out of twelve stands out! - This is a greatly anticipated album made for the ears of music lovers performed and produced by musicians with same love for the art of music.
Dont miss it!!!!!!

A classic UK roots reggae outing, originally appearing on the Goldmaster label in 1998 and fast becoming a collector’s item.
This reissue by Partial Records includes two previously unreleased mixes, vocal and dub.
Featuring Southend On Sea–based Goldmaster All Stars, with the cream of the crop of hot-shot reggae musicians featuring female singer Christel, on her one and only release, who was only 14 years old at the time of this recording.

Search Party is the debut album from pianist, Rupert Cox. Rupert has made a little following for himself already being a respected player for Myele Manzanza, China Moses, Chris Hyson and many more.

His debut album swings between laidback contemporary jazz and swirling electronics. There are mellow and moving moments alongside joyful, uplifting melodies and dancing rhythms.

The record has already won support from people like Deb Grant on BBC Radio 6 Music and is slowly developing an ardent following.

DJ Support:

Deb Grant (BBC Radio 6 Music) and Tony Minvielle (Jazz FM)

Jacob Collier: “Having known Rupert for more than a decade, I can honestly say that this kaleidoscopic beauty of an album does effervescent justice to his magnificent musicianship. It’s a journey for the soul! I can’t wait for the whole world to hear it.”

Brad Mehldau: “Music is all about storytelling for me at its base and it’s got that going on all the tracks… It really holds together as a singular voice.” “It feels like I’ve heard it before, like it has a familiarity, but it doesn’t sound like something or someone else.”

Devilish is an album surrounded by a darkest atmosphere, its lyrics show urges experienced in our century, such as the constant degradation of the Amazon rainforest and the population increasingly affected by psychological illnesses such as anxiety and depression At the same time, it opens windows of escape for an imaginary world inspired by games, series and fiction books. In their second album with the new lineup, Mayara Puertas (Voice), Rene Simionato (Guitar), Castor (Bass) and Amilcar Christofaro (Drums) transcend the sound of extreme metal with maturity, incorporating progressive metal, influences from Brazilian music and symphonic elements.

The album also honors Brazilian heroes with a participation of Andreas Kisser (Sepultura) in the track "Buried Alive", and a tribute to Rickson Gracie the resilient fighter of Jiu Jitsu considered one of the greatest legends in this sport, the theme of the track "Warrior". The band also mobilized several musicians related to indigenous causes in their country to collaborate on the song "Uatuma", making an appeal for the preservation of the Amazon in a song that flows in an powerful way with the speeches of the indigenous leader Raoni Metuktire and tribal rhythms. For the cover art, the band had Marcelo Vasco, a Brazilian illustrator who has already created artworks for Slayer, Dimmu Borgir, Soulfly among others.

180g virgin vinyl pressing, limited edition of 750 copies only - the complete album + 4 bonus tracks A husky-voiced singer, Jane Fielding (1935-2000) only recorded two albums, her career ending after getting married and retiring from the music scene. 'Embers Glow', her second and last LP, finds Fielding (who was just twenty-one at the time) accompanied by pianist Kenny Drew and his quintet of all- star musicians, including saxophonist Joe Maini and bassist Paul Chambers

Saxophonist Alex Hitchcock continues his mission to seek out new sounds and textures at the forefront of contemporary jazz, and to act as a catalyst to bring together some of the finest musical talents drawn to the fervid internationalism of the contemporary London scene His response to the current challenging climate for artistic endeavour is to go big and go bold: Dream Band: Live in London is a truly groundbreaking project presenting three different 'dream bands' of his favourite musicians, captured live over three nights at London's legendary Vortex club performing music specially composed for each ensemble. The extraordinary line- ups he assembled are testament to the respect he has earned among his peers as a composer, player and bandleader with a uniquely inspiring vision. The band for the first night features the frontline of Mark Kavuma's trumpet and Liselotte Ostblom's vocals blending together over the trio of Rob Luft, Rio Kai, and Jamie Murray: the second features James Copus on trumpet with longtime musical partners Kit Downes on piano and Lewis Wright on vibes, and Conor Chaplin and Marc Michel supplying bass and drums, and the third sets Downes' piano alongside the guitar of Ant Law and Alexandra Ridout's trumpet, with the international all-star rhythm section team of Orlando le Fleming and James Maddren. Part of the album's delight lies in the unexpected combinations of these acclaimed players, and the new levels of creativity that they bring forth; the constant presence of Hitchcock's unmistakeable voice on tenor sax and the strength and consistency of his writing gives the project a compelling unity. Each of the three bands brings their own unique blend of voices to Hitchcock's compositions, taking them in directions unforeseen even by their composer.

The guitarist and composer, Trond Kallevåg, sets sail and explores the stories and mystique of American music and culture. With a cinematic quality reminiscent of Ry Cooder and Bill Frisell, that could serve as the soundtrack of a Cohen Brothers movie, it draws inspiration from transformative journeys of hundreds of thousands of Norwegians who embarked on transformative journeys across the vast ocean."Amerikabåten," (“The American boat” in English) is Trond Kallevåg’s highly anticipated third album following the critical success of "Bedehus & Hawaii" (2019) and "Fengselsfugl" (2021). To bring his stories to life, Trond has assembled a stellar ensemble of esteemed young Norwegian musicians, including Selma French, Daniela Reyes, Håkon Aase, Jo Berger Myhre, and Ola Øverby. These talented individuals, who also boast successful solo careers, are revered figures in today's vibrant Norwegian music scene. Drawing from Norwegian hymns, old broadside ballads and Americana, "Amerikabåten" builds upon Trond's unique sound, incorporating the vast expanse of American folk music. Trond's guitar serves as a tool for musical expression, providing a melodic foundation and narrative quality that allows fellow musicians to shine. Trond expands his sonic palette, complementing his masterful guitar skills with the haunting melodies of the pedal steel guitar. As with his previous albums, Trond's compositions and meticulous production are integral to his creative process, bringing his artistic vision to life. Composing and mixing all the music himself, Trond's honest and lyrical instrumental expression earning him praise from critics worldwide."Fengselsfugl" (2021) unveiled Trond's evocative guitar mastery and compositions, which drew inspiration from traditional Norwegian prison ballads and his own firsthand experiences within the walls of Oslo Prison. The album garnered significant acclaim from critics worldwide, further solidifying Trond's artistic prowess. Trond Kallevåg's "Amerikabåten", merges traditional Norwegian and American music into a fresh, contemplative and thrilling ride across the ocean with some of Norway’s finest young musicians."

"Musik für animierten Tonspurfilm", the twelfth album by Die Anarchistische Abendunterhaltung (or DAAU, as they are commonly known), is the soundtrack to a series of short, abstract animation films by Rudy Trouvé, who also acted as a creative director during the recording process.

The music originates from acoustic improvisation sessions by accordionist Roel Van Camp, clarinetist Han Stubbe, double bass player Hannes D'Hoine and percussionist Jeroen Stevens. These took place according to conceptual guidelines set by Trouvé. Sometimes the starting point was a play on words or a random chord sequence, sometimes a specific atmosphere, but the playing field was always kept deliberately limited. Hence, the musicians were forced to build a musical structure with minimal means. The result was cut on cassette, after which the Antwerp enfant terrible - Rudy Trouvé-, known from his work with dEUS, Kiss My Jazz, Gore Slut and I H8 Camera among others, happily hit the tracks with a virtual sledge hammer. DAAU's pieces were cut up, sampled, drastically restructured and pasted together again, a method that had been applies earlier on the retrospective album 'Hineininterpretierung' (2017). On top of that audio collage, the musicians added new electronic layers, using a digital accordion, synths, digital bass and marimba. DAAU says: 'On the soundtrack, like on the older record, we were looking for a symbiosis between an acoustic and electronic sound. And there too we messed around with dub and Krautrock references'.

Gombloh’s forgotten masterpiece

What if you have Brian Wilson and Bruce Springsteen rolled into one? And what if he came of age as an poor buskers in in Surabaya, Indonesia, but then summoned enough strength to record six albums that flew in the face of everyone in the country’s rock scene back in the early 1980s?

Genius, be they Brian Wilson or Soedjarwoto “Soemarsono” Gombloh, don’t conform to rules written for us mere mortals. They have their own way of doing things and in the case of Gombloh, writing music, conducting recording session and spending cash from his music, must be conducted on his own terms and his terms only. Studio time was expensive back in the early 1980s, yet Gombloh could be three-hour late for his session, and while engineers, session musicians and producers were jittery about the prospect of another botched session, Gombloh took his time for a nap before the recording begun.

Yet, some of his greatest works came into being in the wake of this napping session. Recording session for Sekar Mayang is no exception, despite the fact there’s foreboding sense of doom with Gombloh being unsure about the possibility of selling enough units to help his label break even. This is, after all, this is his last record with his band Lemon Tree’s. No one knew that Gombloh was operating with all his cylinders running and what came out of this Indra Record session, in the waning days of 1980, were some of the best compositions ever committed to magnetic tapes (to wax, if now you’re holding this on vinyl).

This is Gombloh at the peak of his creative genius. You can argue that his debut album Nadia & Atmospheer (what’s with the spelling mistake?) is the most sprawling and complex album (both sonically and thematically), but Sekar Mayang certainly had the best songs and I can make the argument that this album’s 10 songs are strong contenders for biggest hits in blues, country, psychedelic rock charts. “Prahoro & Prahoro” is one of those impossible song which appears to have sprung from a bottomless well of inspiration, encompassing King Crimson’s sprawling epic, Deep Purple’s deepest blues and Genesis’ most progressive tendencies. Or “Sekaring Jagat”, which begins as Lennon-McCartney lullaby before launching a thousand ships traveling to the end of the rainbow with children choir singing heavenly melodies backed by droning harpsichord and synclavier, while a buzzing Hammond B3 tightly locks with Gombloh’s guitar strumming.

For many of his fans, Gombloh is known as generous man of the people. A Robin Hood type if you please. He spent his royalty checks to buy foods for beggars and buskers and dish out some more to buy undergarments for Surabaya’s prostitutes. In Sekar Mayang, Gombloh went full Springsteen mode in “Mitra Becakan,” a social commentary that cut so deep you can end up with tears in your eyes and lump in your throat (even if you don’t understand any of its Javanese language lyrics). This is one the most devastating social commentary ever recorded for a pop song, and even if you discount the greatness of its musical composition, you chalk this up as a great social-realism poetry. His years of hanging out with pedicab drivers, street vendors and street-bound prostitutes certainly gave him enough insight into their (in)human condition.

Yet, a record this stellar was largely forgotten. First, this record was a flop upon its release in 1981. Indra Records reportedly only did one pressing on cassette tape and be done with it. For those who were lucky enough to have come across one of songs from this album on the radio were likely growing up in East Java, where Gombloh had a massive cult following early in the 1980s. Nothing was heard from this record again.

There were only a handful of cassette tapes from the first pressing found on second-hand market and I recently stumbled upon one online with a price tag of Rp 50 million (US$3,500). It’s no longer available now.

In Sekar Mayang, Gombloh harbours an obsession for a long-lost utopia, Java’s distant past, where farmers have their barn full of rice and corn, where blacksmith working around the clock making tools and children singing and dancing in their seminaries. Or the fact that he opens the song with stanza from Serat Weddhatama, arguably the most monumental poem in neo-classic Javanese literature, could be his pledge of allegiance. The question for him is should a modern-day Indonesia, rife with poverty, corruption and environmental degradation not be an anathema to that utopia?

In the end, you don’t need to be someone fluent in Javanese to enjoy this majestic record. And if this record turns out to be the last in Elevation Records catalogue and we shut down this label tomorrow, we will be very happy. Mission accomplished!

My Love Is Your Love is a testament to Houston’s place in history as one of the greatest vocalists ever and is now available on 2LP vinyl featuring a new essay by Wyclef Jean, photos, lyrics, and fan testimonials.

Celebrate the 25th anniversary of Whitney Houston’s 4x Platinum album My Love Is Your Love, originally released worldwide on November 17th, 1998.

Her first studio album in eight years, Houston re-emerged with this remarkable work, graced by her transcendent talents and a prestigious ensemble of musicians. The vibrant sonic landscape interweaves sentiments of love, faith, and ardor with emotional integrity in every note, featuring the hit songs "Heartbreak Hotel," "It's Not Right But It's Okay" and the title track.

The drums of fire scorch the age. With his young and talented Sound Limited, Takeshi Inomata heralds the arrival of the golden age of jazz rock in high spirits. Drummer Takeshi Inomata, who led the Japanese jazz scene with his precise stick work and musicality with an eye on the times, formed Sound Limited at the end of the 1960s, influenced by the brass rock music that was flourishing at the time. He said, “I wanted to fuse jazz and rock and bring together young musicians to play music with vitality. I want this group to be a group with a large scale that is not confined to the small frame of modern jazz,” he said, launching a new axis. Their first album, “The Sound of Sound Limited” (1970), became their masterpiece. It is a masterpiece that is full of energy and enthusiasm throughout the album, starting with “Theme~Mustache,” which has become one of the most beloved and iconic songs of the band.

Drums, Music Director – Takeshi Inomata

Electric Bass – Jun Suzuki

Electric Guitar – Ryo Kawasaki, Shigenori Kamiya

Flute – Toshiaki Yokota

Mixed By – Eiji Uemura

Organ – Yusuke Hoguchi

Tenor Saxophone – Takao Uematsu

Trombone – Shigemichi Domoto, Takashi Imai

Trumpet – Shunzo Ohno, Takashi Kumagai

My Love Is Your Love is a testament to Houston’s place in history as one of the greatest vocalists ever and is now available on 2LP vinyl featuring a new essay by Wyclef Jean, photos, lyrics, and fan testimonials.

Celebrate the 25th anniversary of Whitney Houston’s 4x Platinum album My Love Is Your Love, originally released worldwide on November 17th, 1998.

Her first studio album in eight years, Houston re-emerged with this remarkable work, graced by her transcendent talents and a prestigious ensemble of musicians. The vibrant sonic landscape interweaves sentiments of love, faith, and ardor with emotional integrity in every note, featuring the hit songs "Heartbreak Hotel," "It's Not Right But It's Okay" and the title track.

My Love Is Your Love is a testament to Houston’s place in history as one of the greatest vocalists ever and is now available on 2LP vinyl featuring a new essay by Wyclef Jean, photos, lyrics, and fan testimonials.

Celebrate the 25th anniversary of Whitney Houston’s 4x Platinum album My Love Is Your Love, originally released worldwide on November 17th, 1998.

Her first studio album in eight years, Houston re-emerged with this remarkable work, graced by her transcendent talents and a prestigious ensemble of musicians. The vibrant sonic landscape interweaves sentiments of love, faith, and ardor with emotional integrity in every note, featuring the hit songs "Heartbreak Hotel," "It's Not Right But It's Okay" and the title track.

"Omoiyari" means to have empathy and consideration for others, and act on it. This fall, the American indie-folk multi-instrumentalist and singer-songwriter Kishi Bashi is set to release the companion album to his forthcoming documentary song film, titled Music from the Song Film: Omoiyari. Consisting of two LPs_"The Songs" and "The Score"_the release showcases what is essentially the soundtrack to Omoiyari, the feature-length motion picture co-directed by Kishi Bashi, aka Kaoru Ishibashi or "K," which is being released via MTV Documentary Films in November. Focusing on K's own six-year journey of discovery surrounding his research of the incarceration of 120,000 Japanese Americans that followed the attack on Pearl Harbor in 1941, the film is part social justice documentary and part song-film experiment. The album includes K's live improvisations, which are featured in the documentary, many recorded on the sites where the concentration camps stood. Written during and about the artist's transformational dive into his personal identity and serving as a broad survey of the Japanese American experience as well as the incarceration_Music from the Song Film: Omoiyari serves as an evocative musical accompaniment to the lessons of empathy and compassion portrayed in the film and highlights the process and power of one of modern indie's most talented musicians.

Brueder Selke, a polyinstrumental composer duo originally from East Berlin, consistently enriches the repertoire of their two primary instruments: cello and piano. Their independent curator role shines through as they frequently host boutique concerts and happenings, featuring both established and emerging artists during their yearly Q3Ambientfest.

'Go East' marks a significant milestone in the long-term collaboration of Brueder Selke, two brothers who grew up on the socialist side of the Berlin Wall. The tracks are driven by the essential components of a restored Piano-Strings machine, along with two electronic organs named Sandy and the ET6-1, and a E-Piano, all manufactured by Vermona in the late 1970s and early 1980s.

Their innate sense of interplay, developed during their upbringing in GDR times, stems from a deep-rooted longing for connection and exchange with like-minded musicians and individuals. Through their music, they convey ideas that embrace a universal duality, showcasing how diverse elements harmoniously complement each other. The album encompasses a wide range of atmospheric moods, from intimate classical chamber music to expansive textural landscapes created by these now rarely intact socialist synthesizers, with their parameters mimicking strings and keyboard instruments. In this ironic and thoughtful manner, Sebastian and Daniel once again skilfully let their main instruments, cello and piano, merge into one another.

'Go East' aptly reflects the artist's profoundly experimental yet accessible approach, making it their 8th duo album. The 2x2 recordings were produced in their Klingenthal Studio in Potsdam in February 2022.

The composer behind one of the most sensational breakthroughs in Danish music invites you on a crackling, ever-changing and deeply personal journey. His third album Atmospherics drops after a decade in which Mike Sheridan has searched deeply to find and capture his inner sound.
Films, theatres and art museums have benefited from Mike Sheridan‘s sense of sound and melody for the past 10 years. An album has been a long time coming because, in the wake of his breakthrough at the age of 16, he needed to listen extra closely to his inner sounds.
With Atmospherics, he unfolds the music in a meeting between who he once was and who he is today.
Three years ago, he began to create what is now the album Atmospherics. The term refers to electrical disturbances in the atmosphere, such as during a thunderstorm, which can interact with and distort wireless signals. Here, the title refers to both the sound of the album itself, where computer collages, classical instruments crystal clear melodies and heavy rhythms collide, and to the electronic processing and reworking. But really, he thought it would be a quiet release, almost devoid of melodies. Themes and music slide in and out of each other on the album. There are moments of dub, techno, pop and modern compositional music.
There are sounds and beats that crackle, dissolve, replace each other, or connect with each other in new ways.In this way, Atmospherics can be listened to as a long exhalation from an artist who has dared to hold his breath longer than most.
Atmospherics features both Danish and international guests such as Agnes Aldén (a singer, songwriter and producer from Falun, Sweden), Indra Rios-Moore (a singer, songwriter and arranger, from the Lower East Side of Manhattan), BYLJA and Janus Rasmussen - as well as a host of Sheridan‘s regular musicians.
The artwork for Atmospherics is created by visual artist Nicolai Howalt.

After a string of two dozen brilliant albums beginning in the 1950’s, clarinetist, saxophonist, flutist,
composer and arranger Jimmy Giuffre stopped recording. For nearly ten years he focused solely on
live performance. This album, Music for People, Birds, Butterflies and Mosquitoes, marked his return
to the studio after his self imposed hiatus. Known for developing forms of jazz which allowed for free
interplay between the musicians, Giuffre began his career as an arranger for Woody Herman’s big
band in the late 1940s. Playing primarily saxophone, he became a central figure in the West Coast
cool jazz scene of the 1950’s, with the Lighthouse All Stars in Hermosa Beach, CA. In the late 50’s, he
began working within different configurations of the trio format, on what he called “blues-based folk
jazz.” A prime example being his piece "The Train and the River" famously featured in 1958 Newport
Jazz Festival concert film, Jazz On A Summer’s Day. The trio here is completed by drums and bass
with Giuffre trading seamlessly between tenor saxophone, clarinet, flute and bass flute. The twelve
original compositions are very much in Giuffre’s signature style. The melody explorations have an
eastern vibe, and are played in hushed tones with an almost chamber music like quality. From 1973,
originally on the Choice label, this album has been remastered and is being presented here as the
artist intended, with its original title, track order and album artwork, for the first time since its original
release. Remastered by Alex McCollough at True East Mastering. Vinyl cut by Jeff Powell at Take Out
Vinyl.

As the title suggests, the recording Tenorlee finds Lee Konitz, the great American saxophonist,
playing exclusively on tenor. It was a spontaneous decision, and a tribute to his dear friend,
Lighthouse All-Star saxophonist Richie Kamuca, who had passed away just days before Konitz
entered the studio for these sessions. Konitz classically trained on the clarinet, but switched to jazz
saxophone after being enamored by Lester Young. By 1945 the 18 year old Konitz was performing
professionally. He made a staggering 150 albums as a band leader over the course of his long and
storied career. He played and recorded with everyone from Dave Brubeck, Charles Mingus, Ornette
Colman, Elvin Jones, and Gerry Mulligan, to Elvis Costello, Brad Mehldau and Charlie Haden.
Between 1948 and 1950, he was a member of Miles Davis’ group, and participated in the recordings
that would eventually be collected and released as Birth of The Cool. With a trio featuring Lighthouse
All-Star alum Jimmy Rowles on piano and Michael Moore on bass, Kontiz called out old and familiar
songs. The intention was to “let the tunes happen” as only finely tuned jazz musicians of certain
experience can. Of note is “Lady Be Good” which finds Konitz and Rowles quoting Lester Young’s
solo from the 1936 recording with Count Basie. From 1978, originally on the Choice label, this album
has been remastered and is presented here as the artist intended, with its original title, track order and
album artwork, for the first time since its original release. Remastered by Alex McCollough at True
East Mastering. Vinyl cut by Jeff Powell at Take Out Vinyl.

NEA Jazz Master, Toots Thielemans, is widely considered to be the preeminent jazz harmonica
player. It is safe to say that before him, the harmonica in jazz was simply not done, and Thielemans
can be credited with legitimizing the instrument in the genre. Born in Brussels, Belgium in 1922.
Theileman’s excelled on accordion as a small child, before picking up the guitar as a teenager after
hearing Django Reinhart. Along the way, he taught himself to play harmonica as a hobby. In 1948,
during a visit to the US, he sat in on guitar with a jazz group at small club in New York and was
“discovered.” Engagements soon followed with the likes of Benny Goodman, Charlie Parker, Miles
Davis, Oscar Peterson, Dizzy Gillespie, Quincy Jones and more. As the story goes, in response to a
musicians’ union restriction, Thielemans was forbidden to play guitar at a gig. So, he pulled out his
harmonica. The rest, as they say, is history. He went on to have a long and prolific career on the
instrument, as both a band leader and session musician. With his unique sound, he became a go-to
for film scores in the 1970s (The Pawn Broker, Midnight Cowboy). Perhaps most notably, Thielemans
is unconsciously known to generations for having played the melody on Sesame Street’s famous
closing theme. Organized as a purely jazz session, the date here prominently features a young Joanne
Brackeen on piano. It is perhaps Brackeen’s presence that makes this set so interesting. As an
avant-garde player she provides the vehicle for Thielemas to explore more advanced ideas. The
album covers a wide range of material, including two originals by Brackeen, alongside standards by
Coltrane, Ellington, Mercer and Mancini.

Frozen reeds presents the only recorded duo playing of two legendary musical figures. Derek Bailey and Paul Motian – two longstanding pioneers of distinct strains of improvised music – came together for a brief period of collaboration in the early 1990s. Tapes of their two known live performances (one at Groningen’s JazzMarathon festival in the Netherlands, the other a year later at New Music Cafe, NYC) were recently unearthed in the Incus archives, and their contents will surprise and delight fans of both supremely idiosyncratic musicians.

The Groningen concert (1990) is released on vinyl, while the New York date (1991) is included with the digital download, free of charge for all purchasers. A conversation between Bill Frisell and Henry Kaiser on Bailey, Motian, their intertwined backgrounds, and the significance of these recordings is included as sleeve-note insert.

“This is one of those moments that we’re always hoping for, and it's so rare. And it's so hard to talk about, because it's so beautiful. It's like you're seeing some new species of plant that you never knew existed or something.” – Bill Frisell

Each player bringing decades of crucial experience to their encounters – with histories taking in vast swathes of the development of jazz and free improvisation – these fleeting shared moments provide some of the most riveting playing in the career of either.

There is precious little recorded evidence of Motian as a free improviser, but his mastery is beyond any doubt in these recordings. From knife-edge precision to textural haze, Motian’s palette is astounding, but perhaps even more impressive is his confidence in the non-idiomatic conversation itself. Pushing far beyond the established vocabulary of free percussion, his playing allows a measured degree of repetition to take form, giving rise to almost song-like structures. The covert influence of the drummer’s work on the post-rock genre (just taking its first nascent steps in the early 1990s) is made overt here.

In turn, Bailey allows some of his most unashamedly melodic passages to unfold without a mote of his trademark contrariness or antagonism. Patterns that would be acerbically disrupted elsewhere are allowed to settle, with variations of note and timbre introduced more gradually than is typical of his playing. When forceful changes in dynamics or tone do arrive, they do so in such close tandem with Motian’s rhythmic and textural transitions as to beggar belief. The guitarist’s duos with percussionists (Jamie Muir, Han Bennink, John Stevens…) arguably provide some of the highlights of his discography. ‘Duo in Concert’ represents a strong addition to the list.

An elegant sense of construction pervades the sets, as the duo ably fulfil the promise of free improvisation: carving out hugely compelling, expertly balanced, and thrillingly paced music as if from thin air.

Taipan Tiger Girls’ third and final LP is a hypnotic, cosmic freakout that combines analogue electronics, drums, guitar and the mammoth drones of the Melbourne Town Hall Grand Organ. Recorded live at Melbourne Music Week in 2017 in front of an ecstatic sold out hometown crowd, this record marks the zenith of the short but incendiary career of an extraordinary band. An instrumental outfit with a relentless drive to experiment, Taipan Tiger Girls are composer, producer and all-round electric statesman Ollie Olsen (WhirlyWirld / Max Q / NO / Third-Eye / Psy-Harmonics), experimental drummer and synth obsessive Mat Watson (Boredoms BoaDrum / E.S.G / ULMD / Other Places), and feedback guitar droner and organist Lisa MacKinney (Mystic Eyes / Hospital Pass / Super-Luminum). On Live At the Melbourne Town Hall they are joined by very special guest guitarist Bonnie Mercer (Grey Daturas/Hospital Pass/Breathing Shrine) with MacKinney commanding the historic Melbourne Town Hall pipe organ. Live at the Melbourne Town Hall is a monument to the combined talents of a group of phenomenal musicians whose fusion created a magic elixir made all the more precious by its temporary nature. Showcasing the improvisatory prowess of the band at the peak of their powers and bolting off into the stratosphere in a thrilling surge of psychedelic expansion. GENRE: EXPERIMENTAL, DRONE, ELECTRONIC, ANALOGUE SYNTH, LIVE, PSYCHEDELIC, IMPROVISED Released in conjunction with Heavy Machinery Records

Celebrating her 60th birthday, Nikki Iles, one UK's most unsung jazz virtuoso, is set to release "Face to Face," collaboration with the illustrious NDR Bigband. This highly anticipated album stands as a resounding testament to the unmatched quality, meticulous artistry, and virtuosity of these extraordinary musicians. "Face to Face" marks a transformative turning point, propelling her artistry onto a grand stage where it rightfully belongs. Her piano compositions bear an unparalleled emotional depth, captivating listeners with each exquisite note.

Joined by the NDR Bigband, known for their impeccable performances and musical prowess, this album delves into the heart of contemporary jazz. Together, they craft a sonic tapestry that redefines the genre and transcends conventions. Beyond a mere celebration, "Face to Face" is a revelation of Nikki Iles' genius and a testament to her impact on the music world. It offers an intimate encounter with her raw talent and undeniable charisma. . With each listen, "Face to Face" unravels the layers of Nikki Iles' musical brilliance, perfectly complemented by the grandeur of the NDR Bigband. This album invites us into the magic of true artistry.

For much of this album, his 16th in 26 years, Hiatt reunites with his best band, the Goners, and takes a giant leap back to his still-hungry days as a jag-edged, Costello-esque rocker while hewing to the soulful, blues-based songwriting he perfected on 1987's Bring the Family. The withering pub rock of 1979's Slug Line--as well as a nod to fallen hero Dale Earnhardt--seeps into the title track, while the roaring guitar, courtesy of the brilliant Sonny Landreth, and tight rhymes of "All the Lilacs in Ohio" suggest the streetwise edge of 1983's Riding with the King. But it's with ballads such as "Something Broken" and "Come Home to You" that Hiatt's musicianship, songwriting, and deeply soulful vocals truly convince and offer the most moving moments on this, his most memorable album in many years.

The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers (DBT), is reissued with 4 unreleased tracks from the original recording sessions. The addition of those 4 extra songs finds Sirens Of The Ditch clocking in at 15 total tracks. Sirens Of The Ditch's mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL where the album was recorded. Co-produced by Isbell and Patterson Hood (DBT), Sirens Of The Ditch features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (Formerly of DBT) on Bass and Brad Morgan (DBT) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson's father) on "Down In A Hole", John Neff (Formerly of DBT) on "Dress Blues" and Patterson himself guests on "Shotgun Wedding". "a strong debut, full of the kind of confident, charismatic songwriting that just can't be taught." - Pitckfork “Isbell could be roots rock’s Flannery O’Connor.” - Spin

In the late 1970’s Athens, Georgia was buzzing with a raw but sophisticated music scene. The turn of
the decade began producing new sounds from bands like the B-52’s, R.E.M. and Art-Rock luminaries,
Pylon. Before they were a band, Pylon were art-school students at the University of Georgia:
invigorated by big ideas about art and creativity. In 1980 the band released its first record, Gyrate and
began touring across the country in support of the release. Following the critical acclaim of Gyrate,
Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in
new shapes, revealing a band of self-proclaimed non-musicians who had transformed gradually but
noticeably into real ones. The resulting album was, Chomp. Now, more than three decades later, both
studio recordings have been remastered from their original audio tapes and are set for release on New
West Records.

In the late 1970’s Athens, Georgia was buzzing with a raw but sophisticated music scene. The turn of the decade began producing new sounds from bands like the B-52’s, R.E.M. and Art-Rock luminaries, Pylon. Before they were a band, Pylon were art-school students at the University of Georgia: invigorated by big ideas about art and creativity. In 1980 the band released its first record, Gyrate and began touring across the country in support of the release. Following the critical acclaim of Gyrate, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self-proclaimed non-musicians who had transformed gradually but noticeably into real ones. The resulting album was, Chomp. Now, more than three decades later, both studio recordings have been remastered from their original audio tapes and are set for release on New West Records.

Neil Hamburger presents a new work from the songwriting team of Gregg Turkington and Erik Paparozzi. Seasonal Depression Suite is an album-based musical, sung by an all-star cast whose voices embody various guests stuck in a perfectly average chain-hotel, wallowing in self-pity and paranoia, re-living personal catastrophes both real and imagined, or simply trying to use the hotel vending machine. Expert music played by an all-star band, to boot! To sing these parts, a once-in-a-lifetime all-star cast was assembled - including Neil Finn (Split Enz, Crowded House, Fleetwood Mac), Annabella Lwin (Bow Wow Wow), Alan Bishop (Sun City Girls), Bonnie Prince Billy, acclaimed singer/performance artist Puddles Pity Party, voice actress Natalie Peyser, J.P. Hasson (Pleaseeasaur), enigmatic vocalist (and Frank Sinatra"s granddaughter) A.J. Lambert, Paparozzi himself and, of course, Neil Hamburger. Among the many musicians accompanying the cast were Scarlet Rivera (Bob Dylan"s Rolling Thunder Revue), Danny Heifetz (Mr Bungle), Bär McKinnon (Mr Bungle), Prairie Prince (The Tubes), Atom Ellis (Dieselhed), Jason Schimmel (Secret Chiefs 3), and Alex Jules (The Monkees band) - an international assemblage whose talents give Seasonal Depression Suite its epic sweep. With all hands on board, Turkington and Paparozzi created their own kind of masterpiece, like Sinatra"s late-period concept album Watertown fused with the misfit comedy of Neil Hamburger - a work that looks at a cast of characters both ordinary and bizarre, as they make their way from one grievance to another, traveling from place to place, hoping to live, while waiting to die.

Bill Evans and Jim Hall had first recorded together in July of 1959, during the making of John Lewis’ LP Odds Against Tomorrow, and the two musicians also participated on Gunther Schuller’s Jazz Abstractions (recorded in December of 1960). However, those were big band albums and had no space at all for any real interaction between the pianist and guitarist. Undercurrent, presenting them as a duet, was their third studio encounter and one of their most rewarding collaborations. 180-GRAM BLUE COLORED VINYL - THE COMPLETE ALBUM + 2 BONUS TRACKS

The Blips self titled debut, 'The Blips', struck lightning when Little Steven's Underground Garage declared "Inside Out" The Coolest Song In The World in the spring of 2021. And here we are with The Blips, 'Again'. Back with more boogie, beast and beauty

This band swaggers like The Stones, Haggards like Merle, and snots like Mike Ness. 'Again' carries you on a not-too-long trip through a varied landscape of far out, well made and dusty rock songs that stick to your black boots and go with you when you go. While there are four different lead singers and writers throughout this album, it is apparent 'Again' is executed by a band, rather than disparate musicians playing along on a track in a cold studio. A band that sweats. The Blips haven't "grown" or "matured" with their "sophomore effort" --These ideas don't apply to the Blips. The band is wholly made up of veteran front men of some of the most revered bands of the Birmingham rock scene. Making records is what all of these guys do on the regular. Once upon a time, The Blips came together, rose above, braved the elements, forced the issue, carried the weight and dealt with the demons that require the making of a record. And now they have done it . . . 'Again'.

Faitiche releases the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio’s living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo’s Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.

From the reviews of Improvisations and Edits, Tokyo 26.09.2001 in 2003:

"The mind-blowing first track Straight Life is perhaps the best example of what the album has to offer. Jelinek's trademark smears and washes occupy the midrange, like ghosted images of Joe Zawinul's electric piano floating quietly in the wind. DSP jazz modes are set against a walking bassline (possibly computer generated) and a gently tooted trumpet complete with Harmon mute, a dead ringer for Miles Davis' Prestige-era ballads. The effect is something like a three-dimensional film, with different realities on each layer; images of what jazz was manage to interact with a real-time demonstration of all it could be."
pitchfork, 2003

"Improvisations and Edits is a warm and mellow Ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections. However, there are times where it is the exact opposite, mainly effect-laden, overdriven and bouncy with a lack of melodies and focus, so be aware of these specific tracks."
ambientexotica, 2003

"Often deliciously dreamy and hazy, Improvisations and Edits is like listening to an exceptional instrumental jazz performance while half-conscious or under some sort of chemical influence. Computerised blips and bleeps, loops and treatments and murky sonic skips curl up around desolate horn notes and scattered instrumental noises that culminate in elegant music."
exclaim.ca, 2003

-Domino is a spooky, bittersweet collection of cinematic soul cuts influenced by 1970’s ‘Giallo’ film scores layered with luminous vocals.
-Ella Thompson's first solo LP release since Janus (2015).
-Ella is the vocalist from the electro duo GL and formerly frontwoman of The Bamboos.
-Music by Karate Boogaloo aka The Frollen Music Library.
-She will be opening for Lee Fields on his Australian dates in December.
-For fans of Kadhja Bonet, Cleo Sol, Nancy Sinatra, Lady Wray.
Ella Thompson’s Domino is a spooky, bittersweet collection of cinematic soul cuts influenced by 1970s Italian 'Giallo' film scores, with luminous vocals that draw a line between 60s icons like Nancy Sinatra and contemporary soul artists like Kadhja Bonet. Ella’s effortless singing and haunting lyrics paint angular pictures in the moody darkness.
The sparse production is intentionally cinematic, deeply influenced by the music of Italian ‘Giallo’ film scores of the 1970s, particularly by composers like Piero Piccioni but comparable to current artists like Adrian Younge or Bad Bad Not Good in a meditative mood. Minimal but propulsive bass and drums know when to hang back, as they do in the title track and when to step forward as they do in the chugging, deep and funky rhythm section work on the single Never Fight The Way You Feel.
All the instrumentation used in Domino was created by Frollen Music Library, a library music project by the musicians behind Karate Boogaloo, Henry Jenkins, Hudson Whitlock and Darvid Thor, all long-term collaborators and friends of Ella’s.
Ella returned to making music under her own name in 2023 after years of releasing music with her electro-pop duo GL and cult indie band Dorsal Fins. One of Australia’s truly accomplished singers, Ella’s range ranges from art music to cinematic soul, jazz, and pop. In addition to her solo project and bands, she has been a featured artist for numerous acts, most notably deep funk pioneers The Bamboos and Mark Ronson.

- Includes songs from Mackjunt., Tommy Martini, YungGrunge, and Professor Creepshow.
-This is the fourth album of Jazz Playaz.
-Similar artists are Mackjunt., Dam Funk, Knxwledge, ohbliv, DJ Harrison, DJ Screw, J Dilla.
-Limited edition of 250 solid baby blue colored vinyl.
This album presents a fresh perspective on the current state of modern and contemporary jazz music, thanks to the innovative contributions of the quartet. Their unique blend of styles seamlessly merges the smooth, dreamy sounds of vaporwave with the bold, rhythmic beats of hip-hop, creating a truly captivating listening experience. The result is a dynamic fusion of genres that pushes the boundaries of traditional jazz and appeals to a wider audience. The quartet's masterful musicianship and fearless experimentation make this album a must-listen for anyone interested in exploring the ever-evolving world of contemporary jazz.
STARRING: Mackjunt., Tommy Martini, YungGrunge, Professor Creepshow.

Considered one of the most innovative groups on the Colombian musical circuit in 1973, Columna de Fuego forged its sound by creatively and organically mixing elements of heavy rock with rhythms rooted in the music of the Pacific and Caribbean coasts of the country. Columna de Fuego, the first Colombian rock band to tour outside South America, was the supporting act for Leonor González —La Negra Grande de Colombia— for months and featured members of Los Young Beats, Los Speakers and Siglo Cero. Their only LP, recorded in Spain and released in Colombia only in 1974, was a turning point in the history of Colombian rock, an album full of funk, soul, cumbia and currulao that maintains a fast pace from start to finish. After unsuccessful attempts to establish themselves in Europe, the group parted ways; some members returned to Colombia and others stayed in Europe as part of La Banda Salsa, a vibrant and little mentioned chapter in the history of Latin rock. Roberto Fiorilli, the stand-out drummer of Colombian rock, returned to his native Italy. Over the following five decades, the myth of Columna de Fuego, that wonderful Bogota rock band that dared to experiment with the music of the Colombian coastline, grew. The curiosity of musicians interested in the traditional music and folklore of the coasts since the late 80's, the consequent mixture of different musical genres (modern and roots) at the end of the 20th century and the almost impossible desire of collectors to find a copy of the album or one of the band’s singles, gave it the status it should always have had as a pioneer, milestone and beacon. After remaining unavailable for five decades, we are proud to now present the first-time reissue of this obscure gem with its original artwork, including an insert with notes and rare photos. Sleeve

New Interplanetary Melodies, continues its space journey, among the most interesting musical galaxies of the Italian electronic music scene. For this new release, Simona Faraone, relies on the skilful hands of producers and musicians Marco Antonio Spaventi and Enrico Demuro, who return to work together after the experience of The Great Walk to give us this dense musical experience in the imaginary soundtrack form of a retro-futuristic sci-fi movie that embraces the ever more topical theme of survivalism.

180-gram 45 RPM double LP
Mastered by Ryan K. Smith at Sterling Sound from the original analogue master tape
Pressed at Quality Record Pressings and RTI
Gatefold old-style "tip-on" jacket by Stoughton Printing

In The Right Place is the sixth, and biggest-selling album of the late iconic music legend, six-time Grammy-winner, and Rock And Roll Hall of Fame inductee, Dr. John. Dr. John, the stage name of Malcolm John Rebennack, Jr., was one of the most original, distinctive and influential voices to ever come out of New Orleans. His career spanned six decades as a songwriter, composer, producer and performer. His unique blend of music carried his hometown of New Orleans at its heart.

His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex, Frankie Ford and Allen Toussaint. Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing keyboards on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones' Exile On Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John The Nite Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots.

1973's In The Right Place contained the chart hits "Right Place Wrong Time" and "Such A Night." In addition to his six Grammy wins (1989, 1992, 1996, 2000, 2008 and 2013), he has received six other Grammy nominations over the years. In 2007 he was nominated for "Sippiana Hericane," his Hurricane Katrina benefit disc.

AllMusic says that with In The Right Place, Dr. John struck mainstream paydirt, especially with his hit single "Right Place Wrong Time" bounding up the charts and initiating listeners into New Orleans-style rock (the song hit No. 9 in 1973 on the Billboard Hot 100 songs chart).

Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own.

With mastering by Sterling Sound's Ryan K. Smith direct from the original tape, and two sides of premium 180-gram vinyl (pressed by the best — Quality Record Pressings and RTI), our 45 RPM edition of In The Right Place emphasizes Dr. John's gravelly bayou drawl and sonically creates the hoodoo-infused stage persona he brought to his performances.

After Hurricane Katrina Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007 he was inducted into the Louisiana Music Hall of Fame and Blues Hall of Fame. In 2008 he released City That Care Forgot, winning him a Grammy for Best Contemporary Blues Album.

His numerous other awards included the Louie Award from the Louis Armstrong House Museum and the Jazz Foundation of America's Hank Jones Award, presented in October 2016 at "A Great Night in Harlem" which pleged $1 million to help musicians recovering from the 2016 Louisiana flood.

We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of the timeless Dr. John classic In The Right Place. Cue it up and prepare to be transported.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

The album is the proverbial musical journey, made to be listened to from beginning to end, then flipped over for another spin.

SONLIFE is an 8 track LP that spans genres from Downtempo to Jazz, and is an amalgamation of live instrumentation, field recordings and samples. A lot of the tracks on the album started out as very simple ideas; repetitive, single, distorted loops - “very odd and rough ideas conjured up in the middle of the night in my early twenties”. He originally imagined the project being an experimental solo project in 2015, trying out new sounds and genres. The tracks were back under wraps for a few years when he took a break from making music, and when he returned, they were all reimagined with a brand new life.

The album has heavy influences from the likes of Massive Attack, “Black Sands”-era Bonobo, Portico Quartet and the more dance orientated musicians such as Overmono and Mount Kimbie.

Lovers Grain and The Quiet feat James Mollison
Piecebypiece features Plumm