Search:myself

Clear Vinyl

Originally released in 2020 on cassette and digitally. more eaze is the nom de plume of Austin, TX mainstay m.maurice, a roving experimentalist who’s explored an astoundingly diverse range of sounds, from drone and computer music to avant-pop and beyond. claire rousay is a San Antonio, TX-based percussionist/composer/sound artist who uses physical objects and their potential sounds as a way to explore queerness, human physicality, and self perception. Together—through a suite of deeply personal aural collages—two of Texas’ most vital and vibrant sonic searchers beg the eternal question: If I Don't Let Myself Be Happy Now Then When?

Although only their debut album together, If I Don’t Let Myself… reveals a profound and fruitful relationship between m and claire. But the symphonic symbiosis goes even deeper still. Outside of musical breakthroughs, the pair helped each other conquer intensely personal changes, with m and claire transitioning and coming out as non-binary and trans, respectively.

As m explains, “to me this record is very much about this process of becoming—trying to reach something and getting there but sometimes not being quite where you want to be but at least getting closer. It’s about feeling alternately empowered and insecure socially as you transition and trying to cope with these conflicting emotions.”

Musically, the album showcases startlingly sincere sets of serrated but sedative situational music. A-side epic Drunk is a sprawling but taut rove of aural duality. Passages of exquisite elegance subtly clash with shimmering shards of sound. Pre-op is a poised and pensive piece of solemn reflection, harrowingly honest and delivered with clarity and composure, while Post-op closes out the set in a wholly uplifting and optimistic flair.

If I Don't Let Myself Be Happy Now Then When? is ultimately about coping during the respective transitioning phase in both of their lives, obliquely blissful and fraught with freedom.

Loleatta Holloway’s sojourn at Aware records in Atlanta in the mid-70s was just about as good as soul music can get. We have taken the wonderful two-stepper ‘I Can’t Help Myself’ (NOT the 4 Tops song) from her “Cry To Me” LP for DJs and collectors and added the originally unreleased – until it’s Kent CD appearance in 1996 – ‘Mrs So And So's Daughter’. That track is a more raunchy, sister-funk number compared to the smooth top side; each side oozes class.

Das fünfte Turnover Album Myself In The Way. Der Titelsong kommt mit Gastgesang von Brendan Yates von Turnstile. Myself In The Way entstand aus dem Wunsch von Turnover, ihren Sound weiterzuentwickeln, wobei jedes Werk experimenteller ist als das vorherige. Aber es ist auch ein Nebenprodukt des Wachstums der Band, sowohl als Individuen als auch als Kollektiv. Ausgestattet mit einer Fülle neuer Möglichkeiten, sich kreativ auszudrücken, hat sich die Band der Herausforderung gestellt, ihr bisher ehrgeizigstes Werk zu schaffen. Myself In The Way wurde von Frontmann Austin Getz zusammen mit Will Yip produziert und klingt weitläufiger als alles, was die Band bisher gemacht hat, wobei sie diesmal besonders auf das Sounddesign geachtet haben. Bassist Danny Dempsey hat das Cover-Artwork selbst gemalt, und der langjährige Tour-Gitarrist Nick Rayfield hat einige Songs beigesteuert, um dem Album zusätzlichen Schwung zu verleihen. Das Album enthält auch Gastauftritte von Kollegen und Freunden wie Bre Morell von der in Austin ansässigen Band Temple of Angels auf dem Track Ain't Love Heavy und Brendan Yates von Turnstile auf dem Titeltrack. 2019 veröffentlichten Turnover ihr viertes Studioalbum Altogether das als "ihr bisher schrägstes und zugänglichstes" bezeichnet wurde und die herausragenden Tracks Plant Sugar und Much After Feeling enthält. 2017 wurde ihr gefeiertes Album Good Nature veröffentlicht, das den Hit Super Natural enthält.

Das fünfte Turnover Album Myself In The Way. Der Titelsong kommt mit Gastgesang von Brendan Yates von Turnstile. Myself In The Way entstand aus dem Wunsch von Turnover, ihren Sound weiterzuentwickeln, wobei jedes Werk experimenteller ist als das vorherige. Aber es ist auch ein Nebenprodukt des Wachstums der Band, sowohl als Individuen als auch als Kollektiv. Ausgestattet mit einer Fülle neuer Möglichkeiten, sich kreativ auszudrücken, hat sich die Band der Herausforderung gestellt, ihr bisher ehrgeizigstes Werk zu schaffen. Myself In The Way wurde von Frontmann Austin Getz zusammen mit Will Yip produziert und klingt weitläufiger als alles, was die Band bisher gemacht hat, wobei sie diesmal besonders auf das Sounddesign geachtet haben. Bassist Danny Dempsey hat das Cover-Artwork selbst gemalt, und der langjährige Tour-Gitarrist Nick Rayfield hat einige Songs beigesteuert, um dem Album zusätzlichen Schwung zu verleihen. Das Album enthält auch Gastauftritte von Kollegen und Freunden wie Bre Morell von der in Austin ansässigen Band Temple of Angels auf dem Track Ain't Love Heavy und Brendan Yates von Turnstile auf dem Titeltrack. 2019 veröffentlichten Turnover ihr viertes Studioalbum Altogether das als "ihr bisher schrägstes und zugänglichstes" bezeichnet wurde und die herausragenden Tracks Plant Sugar und Much After Feeling enthält. 2017 wurde ihr gefeiertes Album Good Nature veröffentlicht, das den Hit Super Natural enthält.

A new record from Turnover arrives this fall. Myself in the Way is the band’s fifth full-length album, and it follows their first pause in consistent touring in almost 10 years. While the world was shut down, Turnover’s four bandmates spent time meditating, painting, volunteer firefighting, skateboarding, and working in state parks - deepening interests and growing roots in places they hadn’t been able to while living life on the road for so long.

Over 18 months, these individual experiences acted as the soil in which Myself in the Way grew into Turnover’s next album. Returning to Pennsylvania to track with longtime friend and producer Will Yip, vocalist & guitarist Austin Getz cites Quincy Jones, Chic, and Dark

Lance Ferguson is back for a killer follow-up 7" to his second volume of classic re-works and re-imaginings, Rare Groove Spectrum Vol. 2 - released on Freestyle in late January on LP, CD and digital formats.

We just couldn't resist putting this take on Pucho & His Latin Soul Brothers cover of Gladys Knight's Got Myself a Good Man on a 45. Keeping true to the source, yet somehow simultaneously sounding like no-one else, this version is 100% guaranteed to put a spring in the step of any crowd as the sun starts gradually to come out from hiding. Aside from the faithfully executed and expertly recorded drum-track, which sits pretty higher up in the mix than it's precursor, the star of this particular show comes midway through when Lance's lilting and sun-kissed guitar solo comes gliding in. If you can't move to this, even just a little bit, then you might actually be lacking a pulse. Backing things up is the undeniable latin-funk strut of Mandrill's Mango Meat. Given an instrumental work-out here with Remco Keijer's Flute and Daniel Mougerman's keys putting in work over a heavy-as-lead rhythm section, those delectable salsa-inflicted horns upping the spice levels.

Lance's work across the Rare Groove Spectrum series can often be looked on as something akin to a "live re-edit" on the originals, at times switching up sections or extending the groove. These two choice cuts however are a masterclass in subtly teasing out some of the original elements on the tracks that really make them work on a dance-floor, and bringing those to the fore while retaining 100% respect for the OG arrangements.

She Drew The Gun are today announcing their return with new album Behave Myself. The follow-up to the critically acclaimed Revolution Of Mind, which was named among BBC 6 Music’s Albums Of The Year, is produced by Ross Orton (Arctic Monkeys, The Fall, The Kills, Working Men’s Club). The first music from the record is confirmed to arrive next month.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way. At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom.

She Drew The Gun are today announcing their return with new album Behave Myself. The follow-up to the critically acclaimed Revolution Of Mind, which was named among BBC 6 Music’s Albums Of The Year, is produced by Ross Orton (Arctic Monkeys, The Fall, The Kills, Working Men’s Club). The first music from the record is confirmed to arrive next month.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way. At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom.

One of the two new 7" from All Nations Records coming early 2022 is a rework of a legendary tune that all reggae fans know. “I Know Myself” from Ernest Wilson has been a regular play by all champion sounds from Sir Cosxone to Jah Shaka and alikes since late 70’s. Never would be the intention to do better, but All Nations Records likes to do his thing a little bit different, so Simon Nyabinghi has rebuilt the tune entirely in his studio in 2022 style.
With a clever recipe of carefully picked sounds and a grooving way of playing, it has the original vibes with a bouncing twist that should suit to all original fans and beyond. All in all, a great humble tribute to a legendary artist sadly gone to zion earlier in 2021. 

She Drew The Gun are today announcing their return with new album Behave Myself. The follow-up to the critically acclaimed Revolution Of Mind, which was named among BBC 6 Music’s Albums Of The Year, is produced by Ross Orton (Arctic Monkeys, The Fall, The Kills, Working Men’s Club). The first music from the record is confirmed to arrive next month.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way.

At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom.

She Drew The Gun are today announcing their return with new album Behave Myself. The follow-up to the critically acclaimed Revolution Of Mind, which was named among BBC 6 Music’s Albums Of The Year, is produced by Ross Orton (Arctic Monkeys, The Fall, The Kills, Working Men’s Club). The first music from the record is confirmed to arrive next month.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way.

At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom.

Colin Hay first emerged as songwriter/vocalist for hitmakers Men at Work
before establishing himself as a solo artist.
But his love for music was born in his native Scotland while working at his parents’ record store and hearing the hits of the day.
At home during quarantine in 2021 Hay was moved to record some of his favorites from that period. From the Kinks’ “Waterloo Sunset” to Faces’ “Ooh La
La” and Dusty Springfield’s “I Just Don’t Know What to Do with Myself”, Hay
delivers a set a lushly reimagined classics that showcase both his talent for
interpreting songs and his iconic vocals.

Black vinyl editions of four 'Elephant' era singles ('Seven Nation Army', 'I Just Don't Know What To Do With Myself, The Hardest Button to Button' and There's No Home For You Here). Featuring badass non-album b-sides, 3 of which are covers of songs from some of Detroits turn-of-the-millenium best and brightest (Brendan Benson, Jason Falkner, Dan Miller (Blanche), Soledad Brothers), and one of which is a live White Stripes medley of "I Fought Piranhas" and "Let's Build a Home," recorded at New York's legendary Electric Lady Studios. Most of these tracks have been remastered from the original analog sources, and the artwork on all the singles has been improved upon by the Third Man Creative Hive. "There's No Home For You Here", which was originally coupled with a generic company sleeve, now has stunning new artwork. It looks electrifying! On top of looking good, these sleeves are soft as a baby, printed with an aqueous coating, so they feel like a cross between rubber and lambskin. It's nice.

Wrapping up the single release series from Carlton Jumel Smith's album "1634 Lexington Ave.", comes the deep beat ballad "Help Me (Save Me From Myself)". Progressing from moody minor keys towards the bittersweet hopefulness of the chorus, the track sounds like fell from Menahan Street Band's debut sessions with Charles Bradley and flew across the pond to soggy Helsinki, where Cold Diamond & Mink nurtured it to it's current glory.

The track starts up in classic hip hop soul style, with open drums and cinematic Rocky horns. But after the intro, when the ghost-like piano notes hit, is when the song really gets going. Carlton delivers one of his best dark-end-of-the-street vocals, matching his Timmion debut "I Can't Love You Any More". Tuomo "Pratt" Prättälä's haunting background vocals seal the deal, lifting the chorus to seventh group soul heaven.

Whether you're completing your Carlton single series with this gem or just getting your first whiff of this contemporary soul master, we salute you.

A limited edition 300 copies 45 release for one of the most in-demand track on the northern soul scene.

Due to popular demand, we're happy to present you Alexis Evans' first single on Record Kicks "I Made A Deal With Myself" on the superior 45 vinyl format. The single is a soul stormer that equally pays homage to the glory days of northern soul and bands such as the Style Council and since its LP's only release it has been heavily in demand on the rare soul scene. On the 45 flip side you'll find Alexis Evans brand new single "Your Words", a deep soul number with Rock Steady influences.

Bordeaux-based singer-songwriter-producer Alexis Evans landed on the international soul scene with the heavily acclaimed album "I've Come A Long Way" released in March on Record Kicks, with the aim of making Bordeaux the new French capital of deep soul. The album it's been declared by Rolling Stone Magazine France "soul album of the year" and got raving reviews by magazine such as Blues & Soul (Album of the Month), Record Collector, Shindig, Rock & Folk and constant support by Craig Charles on his BBC Radio 6 Show and FIP/Radio France.

Watch out the 45 vinyl is limited to 300 copies worldwide, so don't sleep on it.

Two all-time George Duke greats, 'I Want You for Myself' & 'Brazilian Love Affair', get the official remastered, reissue treatment.

First up, 'I Want You For Myself' Duke's 1979 jazz funk, R&B tinged gem has got all the ingredients of classic from his illustrious catalogue. A funked up guitar and exuberant percussion, compliment Lynn Davis' fabulously soulful vocals perfectly to make this a love song that's sweeter than most. A Duke classic wouldn't be complete without a killer, keys solo and 'I Want You For Myself' shows off his talents in abundance. The infamous Tom Moulton takes on edit duties splicing it into a 10-minute exploration of this fusion powerhouse, extending and enhancing elements in the mix, alongside adding an epic breakdown in a way that only he knows how.

On the B side, the stone-cold killer 'Brazilian Love Affair' is a Latin American, jazz funk classic. Recorded in Rio de Janeiro, Duke drafted in a host of greats to guest on the track, each bringing something unique to the table. From Airto Moreira's expert latin drumming, to Byron Miller's heavyweight bass and Roland Bautista's overdriven guitar. Duke supplements this to a tee with his blissful vocals and an otherworldly Rhodes solo. Much sampled, much loved, this is a masterpiece that needs a place in the collection.

SOLID GOLD SOUL-FUNK FROM THE SYLVERS, TAKEN FROM THEIR DEBUT SELF-TITLED ALBUM. CUT LOUD AT 45RPM.

Two more of our favourite cuts from The Sylvers first album, produced by Jerry Butler, Keg Johnson and Michael Viner, written by the hugely talented Leon Sylvers III.

'I Know Myself' was sampled by 9th Wonder for his 'Easy' track.

Dionne Warwick is one of the most classic and iconic soul singers of all time. Over her career she has recorded a string of hits and a legacy of music of outstanding quality. Move Me No Moiuntain' was first released in 1975 on Warner Brothers and has since become her most played song on the 'modern soul' scene. (I'm) Just Being Myself' comes from an earlier album (1973) produced by Holland-Dozier-Holland', a connoisseur soul track gaining support in recent years.

We are thrilled to have Emanuel again on Granulart. Four tracks made by Pulse One from Buenos Aires and an intense rework made by Orphx complete the new release.

Early feedbacks from Inigo Kennedy, Dj Pete aka Substance, P.E.A.R.L., Bas Mooy, Pacou, Samuli Kemppi, Jeroen Search, Tripeo, Developer, Kr!z, Ame, Jonas Kopp, Etapp Kyle, Kwartz, Shlomo, Oscar Mulero, Donor, Stephanie Sykes...

Boogie-down cosmic funk from late-seventies Nigeria — like full-throttle Roy Ayers, at his most brilliant.
Jimi Lee Adams packs his inner Hendrix off to Funky Town; the horns are the horniest; Mona runs it all down with an irresistible West African tilt.
Afro-jazz scorchers, both sides.

Breaking through with The Sunflowers in Nigeria's late-sixties soul explosion, Mona moved to the US after the group's equipment was destroyed in a car accident. There she was active in the new jazz scene, before returning home towards the end of the seventies, and forming The Sensationals with guitarist Jimi Lee Adams. An unsung pioneer, Mona was Nigeria's first female pop bandleader.

Fifth in the series: all remastered at Abbey Road, cut at D&M, pressed at Pallas; and presented with a 24" by 12" full-colour poster.

Vinyl edition of the Omar-S album, comes in two parts. Features 3 extra tracks!

One of the funkiest records ever from Brazilian soul legend Tim Maia - and a set that also has him singing a bit of English language lyrics too! The groove here is that classic Maia blend of Brazilian roots with American funk and soul - echoes of forro or samba in some of the rhythms, mixed with psychedelic touches, and some harder-hitting funky lines too - all in a mindblowing blend that's perfectly topped with Maia's vocals - which are every bit as large and powerful as the man on the cover himself! Tim shifts effortlessly between Portuguese lyrics and American English - the latter of which really showcases his love of American soul on the titles"I Don't Know What To Do With Myself", "Broken Heart", and "I Don't Care". The album also features a version of Marcos Valle's "Preciso Aprender A Ser So", plus the cuts "Meu Pais", "A Festa Do Santo Reis", "Nao Vou Ficar", and "Salve Nossa Senhora" - all wonderful, all the way through!

Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afrobeat, and 60's garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80's 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labelled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date. Michels has since gone on to produce and co-produce numerous records for powerhouse soul artists like Lee Fields. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John.

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

Repress!

Originally released Feb. 2002 as a UK single on XL Recordings
B-Side is a song written by Burt Bacharach and Hal David, and made famous by Dusty Springfield, Dionne Warwick, Cissy Houston, Elvis Costello & The Attractions, etc.
Tracklisting

Repress!

Repressed, note price increase. Remastered from the original masters and pressed extra loud for DJs. There are very few albums across any genre that stand the test of time better than 93 ‘Til Infinity, the classic debut record from the Hieroglyphics crew’s very own Souls of Mischief. In an era where Gangsta Rap and G-Funk dominated the West Coast Rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre’s and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples. 93 ‘Til Infinity was propelled into success by its title track and lead single, which reached #32 on the Billboard Hot 100. It also featured singles “That’s When Ya Lost” and “Never No More” which also reached the Hot Rap Singles. In 1998, the album was selected as one of The Source’s 100 Best Rap Albums of All Time. Considered by many to be a textbook “slept-on” classic Rap record, 93 ‘Til Infinity has only grown better with age. The album simply defines the Hiero golden age with a sound that would later be fine tuned with strong releases from MCs Del The Funkee Homosapien, Casual and Pep Love. It takes some serious bravado to name your album 93 ‘Til Infinity, but certainly the goal of creating a Hip Hop “classic” must have been on the collective minds of group members A-Plus, Tajai, Opio, and Phesto when recording this landmark moment in Hip Hop history. It’s true, even seventeen years after the album’s initial release many people are still discovering it, and with this re-mastered reissue on double vinyl, fans all over the world will once again discover the brilliance that 93 ‘Til Infinity delivers and will continue to deliver beyond infinity. A1. Let ‘Em Know (Produced by Domino) A2. Live and Let Live (Produced by Domino) A3. That’s When Ya Lost (Produced by Del tha Funkee Homosapien) B1. A Name I Call Myself (Produced by Del tha Funkee Homosapien) B2. Disseshowedo (Produced by Domino and Jay Biz) B3. What a Way to Go Out (Produced by Domino) B4. Never No More (Produced by A-Plus) C1. 93 ‘til Infinity (Produced by A-Plus) C2. Limitations feat. Casual (Produced by Jay Biz) C3. Anything Can Happen (Produced by A-Plus) D1. Make Your Mind Up (Produced by Del tha Funkee Homosapien) D2. Batting Practice (Produced by Casual) D3. Tell Me Who Profits (Produced by Domino) D4. Outro (Produced by Domino)

repress

Honey Soundsystem Records (aka HNYTRX) is pleased to present its final twelve inch of 2016, the 'Sensual Works' EP by Beesmunt Soundsystem. Unbeknownst to each other, the Honey crew in San Francisco and the Beesmunt duo in Amsterdam have been brothers from another mother working away in their respective zones for years. A bit of internet sleuthing and the two entities found each other, perplexed by the similarities in namesake and good vibes. Before exchanging a single word, earlier this year David and Luigi of Beesmunt sent Honey some demos. They were a declaration of peace and understanding of sorts and both "sound systems" immediately fell into one. The three tracks romanced all the Honey sensibilities including references to San Francisco 80's Hi-HRG synths, early House drum machine workouts, and melodic lines you can make-out on a dancefloor to. To make the marriage official, Honey enlisted its own Jason Kendig to remix the A-side into a no-nonsense thumper with a heart of gold. We think these tunes are going to become as reliable on the dancefloor as the Sequential Circuits drum sounds and DX7 patches they employ. Whether it be ending sets with the euphoric Blissed Out' or peak-time banging call and response of Playin' Myself', Honey finally shares its best kept secret weapons of the year with the eager public.

Statik Selektah is a renowned DJ and Producer based in NYC, born and raised in Boston.
Statik hosts a weekly radio show on Sirius / XM Shade 45 every Thursday from 7PM to 9PM.
Statik has produced recent tracks for Eminem, Joey Bada$$, Action Bronson, Danny Brown, Royce Da 5'9' and Dej Loaf.
In 2014, Statik Selektah released his album, 'What Goes Around' (DDM CD 2375), and in 2015, Statik Selektah put out his 7th studio album, Lucky 7 (DDM CD 2430). He is now prepping his 8th album, '8,' for a December 8th release date.

Mark Is Releasing A New Ep Called Integriert Euch Nicht. It Features Two Tracks Taken From His Berghain Debut And A Freshly-composed Drum & Bass Missile. 'fucking Sick Of Myself Since Day One (hot Desk Mix)' And 'hats Off To Herr. F' Were First Performed At Mark's 2018 Berghain Live Set During Ostgut Ton Nacht. The Former Is A Breakcore-adjacent Call To Arms For The Self-loathing, The Latter An Antarctic Shiver Of Predator- Mode Idm-illektro. 'integriert Euch Nicht (commercial Jump Up Mix)' Features Singing From Blackest Ever Black Alum Silvia Kastel. Mark Wrote The Vocal Parts With Sine Waves Before Kastel Recorded Each Tone Individually, Creating Microtonal Clusters In The Vein Of Luigi Nono. The Sax-like Sounds Are Wilted Woman Playing The Aerophone, An Electronic Woodwind Instrument. Otherwise, It's Mark's Most Deliberately Straight Ahead Drum & Bass Track To Date, Trading The Beat Science Of Former Releases For A Stubbornly Boneheaded Approach In Line With The Title's Message. Integriert Euch Nicht Is Something Of A Spiritual Successor To Last Year's Tech/gentrification/real- Estate-investment Themed Integrier Dich Du Yuppie And A Ruffer, More Floor-focussed Elaboration Of The Techniques Tested On His Unterton Debut The Least Likely Event Will Occur In The Long Run. Under His Klon Dump Alias, Mark Has Also Previously Released A Psych-mnml Double Ep Called Klon Dump Vs. The Open Air On A Colourful Storm And Two Rooms, A Tape Of Sound Art Improv And Knackered Pop-strumentals On Bristol-based Imprint Nocorner. When Not Playing Solo, Mark Also Accompanies Blackest Ever Black's Carla Dal Forno On Live Electronics.

Crayon Unveil "flee", His Last Ep Available On Roche Musique.
Animated By The Desire To Produce His Own Music, As The Artists Who Have Influenced Him, He Has Relied On His Abundant Imagination And Quickly Develops His Own Aesthetic.
The Same Way He Did As A Designer, Crayon Transcribes Mental Images Through A Suave, Heavenly And Melancholic Music.

This was Charles Tolliver's first album as a leader. The setting is unique only because his second Freedom-Black Lion album 'The Ringer' and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.

Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.

Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean's leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.

Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.

There is also a previously unreleased bonus track of the song, "Repetition", recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker's LP With Strings.

This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to. Michael Cuscuna

Emotional Rescue is delighted to present the first of two EPs from British '80s band Furniture, starting with their much sought-after, six-song "mini-album" - as they were known then - which has recently been rediscovered by a new generation of DJs and collectors. "Transatlantic Cable" compares the cliches of a certain type of American romance - Bogart, Sinatra, Dean - to the reality of life in West London. "They're On Me" is probably one of very few pop songs to feature double bass and the word "newsagent", while "Robert Nightman's Story" is powered by a riff on marimba and abrasive rhythm guitar.
"I Miss You", a torch song so good you'd think Julie London might have cut it. A highlight for many is "Why Are We In Love". This track is a key reason for the revival of interest in the band, with pattering rhythm part and the sweet clarinet melody, creating an atmosphere that has attracted a following among discerning DJs. "A Letter To Myself" introduced the band's new, expanded line-up adding Sally Still (bass, vocals) and Maya Gilder (keyboards), which would endure until the band stopped in 1990.

Jaye P Morgan's 1976 million dollar private press featuring the cream of the LA jazz and funk scene and one of David Foster's first productions is finally reissued. Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind and Fire's album I Am and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits.

With a line-up that reads like a who's who on the 70s Californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer / arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel.

Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as Seems So Long and Earth, Wind And Fire's Can't Hide Love (for the anecdote, Foster, Champlin and Graydon would soon pen After The Love Has Gone which would become a mega hit for Earth Wind AND Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind and Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.

From Their Unassuming Origins As A Group Of
School Friends Drawn Together By A Shared Passion
For Music To The Global Touring Force (supporting
The Cure And Editors At Arenas And Stadiums) They
Have Quietly Become, The Twilight Sad's Ascent Has
Been Forged The Old Way, With Grit, Graft And Four
Exceptional Studio Albums.
Now Signed To Mogwai's Rock Action Records, The
Band's Fifth Album Does Not Disappoint And Will
Certainly Please Fans Of Their Previous Works. It Will
Also Appeal To Fans Of The Cure, Frightened Rabbit,
The National, Interpol And Editors.