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Transparent-bernsteinfarbenes Vinyl, limitiert auf 100 Exemplare! Values Here ist eine neue Band, gegründet von Sängerin Chui und dem legendären Gitarristen John Porcelly (Youth Of Today, Shelter, Judge). Die Entstehungsgeschichte von Values Here ist lang: Chui und Porcell trafen sich zum ersten Mal vor Jahren bei einer Shelter-Show in Chuis' Heimatstadt Barcelona, Spanien. Sie führten ein eher scherzhaftes Gespräch über die Gründung einer Band und Chui hielt den Kontakt zu Porcell über die sozialen Medien, bis er ihr eines Tages während der Pandemie einige ungenutzte Demos schickte und sie am nächsten Tag mit "Will Be Tomorrow" zurückkam, komplett mit mehreren Gesangsspuren und Harmonien. Von da an verbrachten die beiden ein Jahr mit dem Schreiben von Songs und beschränkten sich auf das, was schließlich die dreizehn Tracks auf "Take Your Time, I'll Be Waiting" werden sollten. Das Album selbst ist optimistisch und hoffnungsvoll und vermittelt ein positives Mindset. Es gibt Tracks mit klassischem New York Hardcore-Einfluss wie das treffend betitelte "Bring Me The PMA" und solche, die sich in Pop-Rock-Gefilde wagen, wie "We Get Stronger". Durch die Produktion von Tom Soares (Judge, Shelter) und dem Mastering von Dave Kutch (Billie Eilish, The Weeknd) war die Band in der Lage, einen dynamischen Sound zu kreieren, der sowohl ins Radio passt als auch zum Herumspringen in einem Moshpit geeignet ist. Über die klangliche Ausrichtung sagt Porcell: "Personally I always like to push the envelope with every band and record I do. I never just want to live off of past accomplishments and recreate a sound I did with previous bands just because I know it will be immediately accepted. I'd rather push forward and always challenge myself to make newer and more interesting music. I knew Chui was an amazing singer so I wanted to write songs that would showcase her voice and harmonies. I'm a punk rocker at heart so I'll always make music that's energetic and rallies around a message, but for this record I wanted to go further into the melodic side of things." Eines ist sicher: Values Here kreieren hymnische, energiegeladene Songs zum Mitschreien und Tanzen, die sich an die positive, optimistische Perspektive anlehnen, die dem Hardcore-Punk überhaupt erst ein Gefühl von Gemeinschaft und Verbundenheit verliehen hat.

Punk pioneers Crass continue their vinyl reissue series, repressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; ‘Farce’ by Rudimentary Peni and ‘Can’t Cheat Karma’ by Zounds.

Zounds are an English post-punk band from Reading, Berkshire, formed in 1977. Originally, they were part of the cassette culture movement, releasing material on the Fuck Off Records label, and were also involved in the squatting and free festival scene. The name of the band is derived from the old English ‘zounds’, a contraction of ‘God’s wounds’, referring to the crucifixion wounds of Jesus Christ, formerly used as a mildly blasphemous oath.

The band met up with fellow anarchists Crass when, legend has it, their van broke down on the road. They made their way to nearby Dial House, where Crass were based, who helped them with repairs. The two bands became friends, and although musically very divergent, they shared many common political views. Zounds shortly afterwards released their first EP, ‘Can't Cheat Karma’, on the Crass Records label in 1980. The EP featured possibly their most well-known track ‘Subvert’, a call to arms against the grind of daily life. The release of this EP and association with Crass led to an increase in the band's profile in the embryonic anarcho-punk scene, touring with both Crass and Poison Girls. They split in 1982 but reformed in 2007, and remain active today.

Penny continues; “Zounds could have made a fine pop group, but they were far too socially sassy to fall for that one. No, their commitment to radical political change, so abundantly clear in their lyrics, set them apart from the commercialism that had so blighted the likes of The Clash and other punkish pretenders. Having been drawn from the ranks of hippy bands like Here and Now, Zounds encouraged dissent and personal change, and, at their own cost, to pursue and promote them as ideologies. Can't cheat karma? No, nor ever beat it. Zounds were hip to this fine point. Want a better life?

Then make it for yourself. Ain't no one gonna help you out on that one. Find your own way, it's the only way there is.”

First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.

RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

Big Daddy Mugglestone is back, with his first full-length solo release in over 2 decades! Rumi Sounds is proud to present this collection of songs about Life, Love, and God that really embody the idea of Americana Gothic.

The songs are dark but not bleak, giving a glimpse of forgiveness...even the 12-minute long murder ballad for which the album is named is still a love song.


With a mixed band of Denver and Berlin-based friends, Mugglestone steps out of the shadowy depths to create a record you and yr auntie could listen to while doing the dishes or lounging on the sofa on a rainy day.

The psyche-melodic guitar swirls of Oska Wald and the alluring back-up vocals of MTN GRL elevate his wry croon, not quite country but not quite contrary. Something like if Lee Hazlewood and John Prine both wanted to buy the same vintage lamp...

'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.

Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.

Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.

Will Johnson of Centro Matic's ninth solo album. No Ordinary Crown, hums with palpable motion. Travelers, runners and conductors fill its lyrics, and gesticulating storms and emotional highs and lows seep through the instinctual quality of its rock ’n roll performances. It’s also cabled by ephemeral momentum. The songs were conceived in stolen moments and brief windows of time between the responsibilities of family and a multi-hyphenate career. The singer, songwriter, multi-instrumentalist, painter and novelist describes the demo process as “fairly jagged,” a gathering and stitching of audio snippets recorded via cell phone and dictaphone over a year and half. “I finalized the songs on short tours where I could hear my thoughts a bit more clearly,” he says. “Somewhere along the line someone advised me to never be afraid to hurt my characters, that I will always be able to get them out of it,” he says. “I do want there to be these small victories and small portals of hope.” With No Ordinary Crown, people may behave badly, and the road may get rough, but the reward is in the journey. Released via Austin label Keeled Scales (home to Katy Kirby, Buck Meek of Big Thief, Why Bonnie, Twain, Sun June

Originally released on Blue Candle Records in 1977, Steppin' Out by the 13th Floor is a true treasure that deserves a cherished place in the collection of every soul and funk connoisseur. This long-awaited reissue brings back the original magic, preserving the essence and impact it had on the music scene.

Its profound influence on bands like the Red Hot Chili Peppers is undeniable, solidifying its status as an essential gem in the annals of musical history. Now, with this reissue, you have the opportunity to experience the same captivating rhythms and infectious melodies that captivated audiences decades ago.

Are you ready to awaken your boogie spirit and infuse your living room with the long-lost spark of the mid-seventies? Brace yourself for an immersive experience as you surrender to the timeless grooves and soulful vibes that will transport you to a bygone era of musical
enchantment. Allow the music to ignite your soul, reigniting the vibrant energy of the past and instilling in you an irresistible urge to groove like never before.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

Die australischen WOODS OF DESOLATION haben sich in aller Stille zu einem der weltweit herausragenden Vertreter des atmosphärischen Black Metal entwickelt. Was 2005 als Soloprojekt von Multi-Instrumentalist D. begann, hat sich über fast zwei Jahrzehnte und Dutzende von Aufnahmen zu einem Werk von erhabener Schönheit und Traurigkeit entwickelt
Im Rahmen einer neuen weltweiten Zusammenarbeit mit Season of Mist sind die bahnbrechenden WOODS OF DESOLATION-Alben nun wieder in allen Formaten erhältlich.

Die australischen WOODS OF DESOLATION haben sich in aller Stille zu einem der weltweit herausragenden Vertreter des atmosphärischen Black Metal entwickelt. Was 2005 als Soloprojekt von Multi-Instrumentalist D. begann, hat sich über fast zwei Jahrzehnte und Dutzende von Aufnahmen zu einem Werk von erhabener Schönheit und Traurigkeit entwickelt
Im Rahmen einer neuen weltweiten Zusammenarbeit mit Season of Mist sind die bahnbrechenden WOODS OF DESOLATION-Alben nun wieder in allen Formaten erhältlich.

Described as a musician's musician, Allen's sound is built on a foundation of pop, rock, Americana, Roots and Blues influences. Jon Allen has a soulful, whiskeysoaked voice and a striking gift for melody. He has never been content to be pigeonholed, as demonstrated by the eclecticism of his albums to date.Of the album Jon writes ''The last few years have felt like a pressure cooker slowly increasing to boiling point. There is sense of threat and a feeling of impending doom. Living in a large urban centre during a global pandemic brought out a sense of paranoia. We became more aware of our need for space, our need for silence and to be close to nature to get above the noise of a city. I'm absorbing all the time and everything from the famous Will Smith slap to missing people inspired the songs. How close are we all to the tipping point? What are we likely to do in heat of the moment? What will stress do to us when pushed? But light
follows dark, and there are the moments of simplicity and you can count your blessings for the simple things life has to offer".

ltd 700 copies on black vinyl housed in reverseboard printed sleave with printed inner sleave. Comes with lyric booklet, poster and postcard inserts ** Formed in 1968, The Plastic People Of The Universe – named after a Mothers of Invention song and heavily influenced by Frank Zappa and The Velvet Underground – were iconic figureheads of the Prague Underground, a loose collective of Czech poets, philosophers and artists considered a threat by the Communist government. Banned and jailed under Czech communism The Plastic People Of The Universe are a true story of artistic perseverance, Authorities claimed their music would have a "negative social impact", and they were banned from playing for the public, having to play secret shows in remote locations. The raw DIY sound of their recordings escaped to Europe on tape and was released without the band's knowledge, their first album being a document of artistic defiance against the control of a stringent political environment they lived under.

Egon Bondy's Happy Hearts Club Banned, PPU's debut LP, was recorded in 1973-74, but not released until 1978 (and even then, only in France). A beguiling album of lo-fi experimental rock that falls somewhere between Can, The Fall and Canterbury psych-folk with Ayler-esque sax solos. First-time vinyl reissue and it is limited. Essential.

One of the best band you never heard of

ltd 700 copies on black vinyl housed in reverseboard printed sleave with printed inner sleave. Comes with lyric booklet, poster and postcard inserts ** Formed in 1968, The Plastic People Of The Universe – named after a Mothers of Invention song and heavily influenced by Frank Zappa and The Velvet Underground – were iconic figureheads of the Prague Underground, a loose collective of Czech poets, philosophers and artists considered a threat by the Communist government. Banned and jailed under Czech communism The Plastic People Of The Universe are a true story of artistic perseverance, Authorities claimed their music would have a "negative social impact", and they were banned from playing for the public, having to play secret shows in remote locations. The raw DIY sound of their recordings escaped to Europe on tape and was released without the band's knowledge, their first album being a document of artistic defiance against the control of a stringent political environment they lived under.

Egon Bondy's Happy Hearts Club Banned, PPU's debut LP, was recorded in 1973-74, but not released until 1978 (and even then, only in France). A beguiling album of lo-fi experimental rock that falls somewhere between Can, The Fall and Canterbury psych-folk with Ayler-esque sax solos. First-time vinyl reissue and it is limited. Essential.

One of the best band you never heard of

On his third album Comité Hypnotisé let you belly flop into his eleven chambers of the Danza Del Piri-Piri: expanding the feral and contagious universe he started to build a lifetime ago. Levitating and shimmering a glistering way through deep old skool 70's sitar vibes and jitterbug grooves. This boogieman aka the Millionaire-mind and part of the Evil Superstars has carved some hot smoked out bass and organ flared cuts on wax, ready to never leave you again. Whether it is with woodchopped kazou sounds stretching into hazy sunshine desire or dazzling basslines blending with interstellar and stuttering kick drums: the Danza Del Piri-Piri flip-flops and slams into a wiggly relentless sonic future.

FFO Sven Wunder, Ennio Morricone, Khruangbin, Flying Lotus, The Meters, Parliament, Edan, The Gaslamp Killer.

Comité Hypnotisé is the brainchild of Tim Vanhamel, frontman of Millionaire and Evil Superstars, two of Belgium's most famous alternative rock bands. In 2013 Tim started creating solo music that only got released in 2021 on his first solo album through the Belgian eclectic Cortizona label

- Jimmy Somerville's debut solo album Read My Lips is re-issued with rarities and new remixes.

- Originally released in 1989, the album enjoyed Gold Sales and 3 Top 30 hits, as well as Jimmy's Top 10 cover of Sylvester's 'You Make Me Feel (Mighty Real)'.

- Across these expanded versions are remixes from Gerd Janson, AMYL, Arpeggius and William Orbit; unreleased demos, B-Sides and rarities such as 'From This Moment On' (from Red, Hot + Blue)
and I Believe in Love (with Arthur Baker and The Beat Disciples).

- New liner notes from journalist and author Paul Burston.

"Featuring Nate Morgan on piano, Jesse Sharps on reeds, Danny Cortez on trumpet, Rickey Kelly on vibes, Joel Ector on bass and Derek Roberts on drums. This music was recorded in Santa Barbara in July of 1987. Since the passing of the great pianist /composer / bandleader Horace Tapscott, the Nimbus West label has continued to document the underground L.A. jazz scene that Mr. Tapscott was once at the center of. A number of great musicians who once collaborated
with Tapscott, like Jesse Sharps & Nate Morgan, have recorded albums as leaders on Nimbus West. The short liner notes state that "trying to play serious music in an area as shallow & fad-driven as Los Angeles, were too much for this band to deal with..." so they didn't last too long. No doubt. This LP is proof that this collective's music was strong, spirited, original and had a great deal to offer. I
can't say that I've heard of any of the rhythm section players but all six members of the collective are excellent musicians nonetheless.
Nate Morgan's "Retribution, Reparation" is first and it has one of those McCoy Tyner-like 70's ensemble vibes with spirited piano and Trane-ish tenor sax sailing on top. The entire sextet is in great form with impressive solos from trumpeter Danny Cortez, vibist Rickey Kelly and pianist Nate Morgan. How musicians as incredible as this escaped notice, I will never understand. The sextet is ultra-tight and swings furiously throughout. Bassist John Ector's "Big Spliff" has a most memorable theme that had me smiling all the way through. The long & inspired soprano solo by Jesse Sharps and that great piano interplay & solo makes this piece even more special. The only cover on this LP is Monk's "Well You Needn't" and it too is done exuberantly. There are over 100 minutes of outstanding music on this wonderful release. Another buried treasure to add to your collection of great gifts from the gods." - Bruce Lee Gallanter, Downtown Music Gallery

Bill Evans spent late 1961 and most of 1962 participating on a variety of recording projects which featured him playing either solo or along with musicians with whom he rarely worked. Empathy was the first of only two albums Evans recorded with drummer Shelly Manne (their second collaboration, A Simple Matter of Conviction, was taped in 1966). It features the pianist and drummer in a trio format, with Monty Budwigon bass, and presents an unusual program, with four out of six tunes Evans would never record again in any format.

Following the success of Hiroshi Sato's reissue, Wewantsounds is proud to announce an ambitious programme to release Akiko Yano's albums outside of Japan starting with her 1981 synth-pop masterpiece 'Tadaima.', co-produced by Ryuichi Sakamoto and featuring YMO. The reissue includes original artwork by cult illustrator King Terry, a 2 page insert and OBI Strip (LP) plus a new introduction by renowned Electro DJ Joakim. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the 70s Japanese music scene along with HaruomiHosono, Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album "Japanese Girl" with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing Funk, Electro and City Pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. "Tadaima." ("I'm home" in Japanese) recorded in 1981 is Yano's fith studio album co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from YMO (HaruomiHosono, Yukihiro Takahashi and Sakamoto), the group she was touring with at the time. "Tadaima." is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early 80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima" "I Sing", "HarusakiKobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by Children. Contributors on Tadaima also include ShigesatoItoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator TeruhikoYumura - aka King Terry - who revolutionised underground manga in the 70s with his 'heta-uma' (bad-good) style, as showcased on the album's striking artwork. 'Tadaima.' is the perfect entry point to Akiko Yano's unique body or work.


The reissue comes with the original obi strip artwork, extensive liner notes and a new introduction from Joakim

RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

- Jimmy Somerville's debut solo album Read My Lips is re-issued with rarities and new remixes.

- Originally released in 1989, the album enjoyed Gold Sales and 3 Top 30 hits, as well as Jimmy's Top 10 cover of Sylvester's 'You Make Me Feel (Mighty Real)'.

- Across these expanded versions are remixes from Gerd Janson, AMYL, Arpeggius and William Orbit; unreleased demos, B-Sides and rarities such as 'From This Moment On' (from Red, Hot + Blue)
and I Believe in Love (with Arthur Baker and The Beat Disciples).

- New liner notes from journalist and author Paul Burston.

Paul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music. With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers. Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul. With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music. In Paul Hillery's words: "Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"

Svitlana Okhrimenko (artist name: Svitlana Nianio) is a Ukrainian artist, musician, and signer. She is one of the most prominent representatives of the independent music scene of Kyiv in the late 1980s — early 90s. She has repeatedly recorded and performed in collaboration with other musicians and bands, such as Oleksandr Yurchenko, Sugar White Death (Cukor Bila Smert’), Ivanov Down, GeeNerve & Taran, and Blemish. Svitlana still performs and publishes new recordings today.

“Transilvania Smile” is one of the first solo works recorded in 1994. During this time, Svitlana repeatedly visited Germany, where she had the experience of playing in parks and on the streets, gathering contacts of the local art scene. Her cooperation with the international choreographic group Pentamonia, based in Cologne and consisting of several girls who performed in theaters, took part in various performances, and were engaged in music. They met in the 1990s during joint performances with "Sugar-White Death." After that, they corresponded, and the idea of doing something together arose. Svitlana attended several of their performances, which inspired her to write music for a new project, and the band members helped to realize their creative ideas. Later, they started rehearsing together.

The name “Transilvania Smile” was invented by the project participants, and it symbolized the mold on the mirror and the reflection of a smiling vampire. However, shortly before the premiere, they changed it to “Firefox”, as the participants actively used flashlights and the play of light and shadows in the scenography.

The premiere occurred in the local Urania theater, previously a gallery. Isabel Bartensein directed the choreography, and Svitlana played, sang, and improvised. She said it was an excellent experience for her and the band. Besides Cologne, they also performed in Aachen.

Later, Michael Springer offered Svitlana to record this material in his "Phantom" studio. They had already worked together and recorded music for their project (Svitlana Okhrimenko / Phanton). Michael was also interested in the Ukrainian independent scene and participated in the creation of several compilations that featured bands from Kyiv and Kharkiv. Svetlana played the piano and harmonium in the studio and also sang. After the recording, the material was never released in its entirety. Two compositions appeared on the cassette compilation “Shovaisia” (Hide) in 1995, some episodes were re-recorded for the “Kytytsi” album in 1999, but for a long time, the full version of this recording remained practically unknown to listeners and was kept in Svitlana's and Michael’s archives.

This album is one of the most personal and insightful works of Svitlana Nianio from the 90s, which you can now get to know in its original form and sound.

With a hit-making, chart-topping, 25 year career already behind her as a member of STEPS, following on from the 2019 Top
10 album, ‘My Wildest Dreams’, CLAIRE RICHARDS releases her second solo album, ‘EUPHORIA’.
• Produced by Steve Anderson (Kylie/Britney/Girls Aloud/Take That/Westlife), the album features classics by legendary
female singers, of which Claire writes that “This album is a thank you to all the incredible women that inspired me to sing!”
• Two special guests join Claire on ‘EUPHORIA’, with Andy Bell featured on ‘Summer Night City’ and Delta Goodrem on ‘No
More Tears (Enough Is Enough)’ .
• The album’s lead single ‘I Surrender’, originally recorded by Celine Dion, showcases Claire’s incredible vocal range by
turning the song from a power-ballad into an absolute banging floorfiller, also demonstrating why Claire is one of the best
British vocalists.
• Produced as a multiple format release, this 11 track album comes as a Marble Colour Vinyl LP.
• Ever popular with TV presenters, Claire has an incredible PR plot lined-up, as everyone wants her on their show!

With a hit-making, chart-topping, 25 year career already behind her as a member of STEPS, following on from the 2019 Top
10 album, ‘My Wildest Dreams’, CLAIRE RICHARDS releases her second solo album, ‘EUPHORIA’.
• Produced by Steve Anderson (Kylie/Britney/Girls Aloud/Take That/Westlife), the album features classics by legendary
female singers, of which Claire writes that “This album is a thank you to all the incredible women that inspired me to sing!”
• Two special guests join Claire on ‘EUPHORIA’, with Andy Bell featured on ‘Summer Night City’ and Delta Goodrem on ‘No
More Tears (Enough Is Enough)’ .
• The album’s lead single ‘I Surrender’, originally recorded by Celine Dion, showcases Claire’s incredible vocal range by
turning the song from a power-ballad into an absolute banging floorfiller, also demonstrating why Claire is one of the best
British vocalists.
• Produced as a multiple format release, this 11 track album comes as a Marble Colour Vinyl LP.
• Ever popular with TV presenters, Claire has an incredible PR plot lined-up, as everyone wants her on their show!

new music in nearly 30 years Includes 11 brand new songs written by the band The Cowsills will be on the road through 2023 supporting the new record Some of the best music made in the last 60 years has been delivered by musical families. Think about it . . . The Everly Brothers, The Beach Boys, Bee Gees, The Jackson 5, The Staple Singers, Pointer Sisters, Kings Of Leon, Oasis . . . and The Cowsills! Starting in 1965, The Cowsills was composed of six siblings, performing their instruments and singing those glorious harmonies as only families can. Originally starting as a regional act (from Newport, Rhode Island), the group was “founded” by Joda Records owners Danny Sims and reggae/pop singer Johnny Nash (“I Can See Clearly Now”) in the mid-’60s for whom they recorded a handful of singles before turning towards more national recognition when they were signed to MGM Records in 1967. At this point, the group’s mother Barbara and young sister Susan joined the act and they were awarded a Gold record for over one million copies sold of their very first single for MGM, the sublime, “The Rain, The Park & Other Things.” This began a series of chart records that dominated the Top 40 for the next three years. Among the classic Cowsills recordings are “We Can Fly,” “Indian Lake,” “Hair” (from the rock musical Hair), and “Love American Style” (the theme song from the popular ABC-TV show of the same name). The group also recorded and charted with five successful albums during this time period. The band and their story were even the inspiration for the popular 1970s sitcom The Partridge Family. The group was also a prosperous touring attraction up through 1972, spreading their harmonious hope and love to an adoring fan base. They even had their own comic book published in 1968. As all families do, the group went through a series of changes, disbanding in 1972. But music never left the soul of this tuneful and melodic kin. Over the years, the group, as individuals, continued to make music and even reunited in 1978 and 1993 to make historic records that are woefully out of print. Now, nearly 30 years after their last recordings as a group, The Cowsills are returning with new music for the new world! Omnivore Recordings is proud to announce the release of Rhythm Of The World. Eleven brand new songs written by the band. The ambassadors of goodwill and love will be on the road through 2023 thrilling fans with their classic hits and soon to be new favorites!

John Fogerty’s first solo album originally released in 1973, reissued for the first time on 180g vinyl
Fogerty arranged, produced, and played all the instruments on this set of 12 hand-picked traditional country songs, including “Jambalaya (On The Bayou)” and “Hearts of Stone”
Lacquers cut at Bernie Grundman Mastering

"Matasuna Records" journey goes to "South Africa" for the first time to reissue two superb Afro-/Jazzfunk songs by the band "Freeway". Released in 1975 on the South African label "Flame", the album "Abahambi – Balomhlaba" was rediscovered and re-released by the good folks of "Black Pearl Records" from Berlin in 2013. The LP immediately landed on Matasuna Records' album best list and was at the top of the reissue wish list. Now that goal has come true to officially release two songs on 45, making them available as 7inch vinyl singles for the first time. Transferred from the original master tapes and remastered to sound as good as never before. An essential release!

The title track of the album "Abahambi" composed by "Sipho Gumede" and also the album opener is also the A-side of the Matasuna release. The song immediately builds up an incredible groove with the first bar and offers an atmospherically dense, 5-minute funk firework. The musicians master their instruments to perfection: be it in the collective playing as well as in the polished solo passages, where they can fully demonstrate their skills. One of the tunes that could run endlessly without ever getting boring.

On the flip side, the song "Umlazi" composed by "Enoch Mthalane" is another testament to the sophistication of their arrangements & musicality. Although this song is much slower in tempo, it is in no way inferior to the A-side in intensity. Especially the piano generates a hypnotic groove, which is skillfully continued by the guitar. Another musical treat!

The fact that the composers of the songs and musicians of the band are (or were) well-known greats of South African jazz music, but the album respectively the band name "Freeway" does not appear in any bio/discography is more than curious. Apparently it is considered proven that the band was founded by bass player "Sipho Gumede".

Born in "Durban" (South Africa), "Sipho Gumede" learned to play the guitar autodidactically until he received his first introduction to jazz from jazz guitarist "Cyril Magubane" at the age of 16. He switched to bass and then got his first professional music job as a member of the "Jazz Revellers" band. In 1970 he went to "Johannesburg" where he met, worked with and toured with some great musicians of that time. He formed several bands with some of them such as "Roots", "Spirits Rejoice" or "Sakhile". Gumede also recorded collaborative pieces with other jazz legends before recording his first solo album in 1985. In the following years he was involved in tours of North America, Europe, as well as many African countries. In 2000, Sipho moved back to "KwaZulu-Natal", where he taught music and performed for township youth. His artistic productivity did not stop there, however, and he produced a number of other albums. In total, he produced, recorded and contributed to more than 20 albums. He died in July 2004 after a short illness.

Repress!

‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.

The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day… until now.

Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.

“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.

Brian Jackson: “I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen – with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well… here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

KAWALA today announce their emotionally resplendent debut album ‘Better with You’. The album marks the culmination of years of work which has seen the band grow from humble begging’s to the world class act they are today. Along the way they have done everything from support Bombay Bicycle Club on their European tour, play socially distanced shows in UK parks (after the first easing of restrictions in 2020), appear on FIFA 2021, write and perform in their own YouTube sitcom (the mad-cap Paradise Heights) and become ambassadors for the Music Venue Trust. Each step on the journey has seen the band grow and expand on what KAWALA means to their community. Ahead of the album’s release, the band are about to head out on their biggest UK and Ireland tour to date – including a sold-out show at the O2 Kentish Town Forum. NME describes them "the Bombay Bicycle Club-approved indie heroes making bangers without borders"

Elysian Park is a slice of unaffected paradise found in downtown Los Angeles. Home to countless birds and (what feels like) infinite layers of greenery, the park plays the role of muse for tstewart’s 21 track album, Elysian. With each track named after his favourite nooks of the Elysian, tstewart likens his crescendos to the grand, never-ending steps found just before the park. As the new project from tstewart (aka MachineDrum), the artist whose credits include Azealia Banks and A$AP FERG, he has signed to Mercury KX with a diverse, piano-led sound that juxtaposes his previous glitchy, pop-fused work.

Der moderne klassische Komponist und Pianist Lambert kehrt mit einem neuen, atmosphärischen SlowTempo-Album zu seinen Klavierwurzeln zurück. Introspektiv und wunderschön karg lädt dieses 15-TrackAlbum mit Downtempo-Soloklaviermusik und Ambient-Elektronik in eine chillige Lo-Fi-Trance ein. Veröffentlicht auf dem Label Mercury KX.

Edna Wright's idiosyncratic "Oops!" is one of the most sublime vocal refrains in soul music history. Anchoring its host album's leadoff cut, it sets the tone for a uniquely satisfying modern soul LP. Indeed, whilst many of its ilk come laden with filler, Wright's one solo record is an exercise in elegant restraint, a concise killer.

Originally released in 1977 on RCA, this rare and sought-after album followed the 1973 disbanding of Edna's much-loved Honey Cone. Produced by her husband, legendary producer/songwriter Greg Perry, the album was somewhat of a risk, a deep soul album released during the period when disco was altering the landscape of popular music. And perhaps inevitably, despite the stellar production and spine-tingling vocals throughout, the album glided gracefully under the radar, spawning only one single and seeing no chart action.

That single - the magnificent title-track - soon became a notorious rare groove stepper in its own right. However, in the years since, it has become a crate diggers classic. Its fame was elevated among hip-hop heads when Prince Paul memorably looped the shimmering intro when crafting the melodic hook for De La Soul's late-summer-stunner "Pass The Plugs", a wistfully melancholic back-porch nostalgia trip. And, more recently, Leon Vynehall liberally lifted the same intro for his sepia-tinged "Midnight On Rainbow Road" to augment the excellent Rush Hour compilation Musik For Autobahns 2.

Yet this album is so much more than its most famous song. An assuredly lean masterpiece from start-to-finish, the album features a further six dynamite tracks of warm, smooth soul. As such, it's an impossible task to choose certain tracks to highlight alongside the mighty title track. Throughout, Edna's strikingly mature vocals are wonderful, proudly stepping out with a sophisticated groove reminiscent of Jean Carn or Gloria Scott, whilst Greg Perry's gorgeous string-drenched backdrops add a rich depth. So much so, many of the other tracks have been sampled by producers with impeccable taste, from 9th Wonder to The Alchemist for songs featuring Nas and Talib Kweli.

Following her glowing role in the acclaimed documentary 20 Feet From Stardom, we pray this long overdue reissue will allow further light to shine on Edna. Officially licensed and beautifully remastered for vinyl by celebrated engineer Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original iconic artwork. Each copy includes a printed inner sleeve with a sumptuous black & white photo, full lyrics and heartfelt notes from Edna herself.

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.


The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

A reissue of Jorge Ben's Solta o Pavao, originally released in 1975. Jorge Ben is one of Brazilian music's iconic and best-loved figures. Born Jorge Duilio Lima Menezes in Rio in 1942, he took the stage name, Jorge Ben, in deference to his mother's Ethiopian roots, and later used Jorge Ben Jorge for further distinction. Playing tambourine and singing in a church choir from an early age, Ben began playing in Carnival blocos and was performing in nightclubs as a teen. Signed to Philips in 1963, his "Mas Que Nada" became an instant international sensation that has never waned, despite being sung entirely in Portuguese. Beginning in samba, Ben's openminded approach saw him embrace aspects of bossa nova, the "Jovem Guarda" rock movement of the mid-1960s and the experimental Tropicalia form, the broad palette and diverse influences yielding a number of adventurous and abstruse albums during the 1970s, of which Solta o Pavao is one of the most rated by connoisseurs, though somewhat overlooked in general; its title translates roughly to "Unleash the Peacock" and apparently concerns the outward expression of inner beauty. Against a backdrop of lushly produced samba rock with shades of MPB, highlights include opener "Zagueiro", in which Ben salutes football center-backs in typically playful and poetic language; closing number "Jesualda" is a heady ballad of a chance encounter leading to a girl's social climbing and "Para Ouvir No Radio (Luciana)" a love song with striking flute and string arrangements; Dadi Flavi's bubbling bass and occasional string synths help keep the sound non-standard.

"Wir leben im Hier und Jetzt und wollen mit unserem neuen Album zum Aufbruch in ein anderes Leben aufrufen. Eine Gemeinschaft, die sich respektiert, füreinander da ist und sich über kleine Dinge erfreut und in der jeder gleich ist, egal welchen Rang er bekleidet oder ob man reich oder arm ist. Reich ist der, der teilen kann und arm ist der, der immer nur sich sieht!", so Sir Hannes.

Ihr Album ist eine sehr explosive Mischung aus Wort, Musik, Energie und Wut geworden, welches ihren Fans und Hörern ein musikalisches Feuerwerk der besonderen Art bietet. Es soll befreien, aufwecken, zum Nachdenken anregen aber natürlich auch Kraft, Freude und Energie verbreiten.
Auf "König der Idioten" verkörpern THE IDIOTS das, was sie fühlen, denken und wofür sie leben!
Jeder Ton, jedes Wort wird von ihnen gelebt, mit Hingabe zelebriert und steckt voller Authentizität.

Mit ihrem neuen Album "König der Idioten" schreien THE IDIOTS nach einer besseren Welt!
Textlich, wie musikalisch, ist "König der Idioten" sicher das bis dato extremste und härteste THE IDIOTS Album.

"Wir leben im Hier und Jetzt und wollen mit unserem neuen Album zum Aufbruch in ein anderes Leben aufrufen. Eine Gemeinschaft, die sich respektiert, füreinander da ist und sich über kleine Dinge erfreut und in der jeder gleich ist, egal welchen Rang er bekleidet oder ob man reich oder arm ist. Reich ist der, der teilen kann und arm ist der, der immer nur sich sieht!", so Sir Hannes.

Ihr Album ist eine sehr explosive Mischung aus Wort, Musik, Energie und Wut geworden, welches ihren Fans und Hörern ein musikalisches Feuerwerk der besonderen Art bietet. Es soll befreien, aufwecken, zum Nachdenken anregen aber natürlich auch Kraft, Freude und Energie verbreiten.
Auf "König der Idioten" verkörpern THE IDIOTS das, was sie fühlen, denken und wofür sie leben!
Jeder Ton, jedes Wort wird von ihnen gelebt, mit Hingabe zelebriert und steckt voller Authentizität.