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One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

Blue Vinyl

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

In the Beginning (Vol. 2) continues the treasure trove of the early works of Declaime & Madlib, the longtime collaborators who helped usher in a new sound and style from the city of Oxnard, Calif. This collection is brimming with previously unheard tracks from this beyond-creative duo that blends hip-hop with funk, jazz, soul, and psychedelia to lay the groundwork for so many other emcees and producers.

For Declaime (a/k/a Dudley Perkins), this series serves as a way to honor his friends and the city that raised them. He shouts out names like The Almighty Metaphor (aka MED), Oh No the Disrupt, DJ Romes, Kazi, and more, who he says “created a lane for the city of Oxnard to get the recognition it deserves.” Some of them make an appearance in one form or another on this collection, too—Romes, for example, mastered the project—that compiles 10 previously lost tracks that were recorded from 1993 to ‘96.

In The Beginning (Vol. 2) is entirely produced by Madlib, who provided all the cuts as well. His instrumentals are on that raw and dusty vibe as they move freely through genres and sounds, like on standout cuts “Bandwagon,”WLIX,” and “Signs (feat. Wildchild).” Those are all highlights for Declaime, too, and they demonstrate his ability to blend his observations of the world with bravado and third-eye insights. Even as young kids just getting their feet wet in the studio, these two were firmly on their path.

That path started, in a way, when the two became friends as young kids. “I first met Madlib when he moved across the street from me; I was around nine years old at the time,” Declaime says, adding that their fathers were friendly with one another. Despite the two losing touch after Madlib’s family moved, they reconnected just a few years later and the rest is musical history.
In The Beginning (Vol. 3) is set to drop via SomeOthaShip Connect in partnership with Fat Beats. This alliance will include several new albums and previously unreleased projects from the Cali veteran that have yet to appear on vinyl, in addition to new releases from the SOS artist roster.

After 9 full length studio albums and playing their asses off at over 800 shows, the Finnish disco metal machine Turmion Kätilöt is ready for the next level in their world dominance. Their 10th full length studio album “Omen X” will be released in 36 countries on 13th January 2023 via Nuclear Blast. The touring cycle starts in Finland immediately after the release of Omen X. Band will play its biggest show ever in Helsinki Ice hall on 14th January 2023. After couple of shows in the home country “Omen X” will be served all over Europe with 20 gigs inFebruary 2023 – see the full show schedule below.
”In the Omen X production, we encountered only positive problems. Due to the closures caused by Covid 19, there were so many songs available this time that it was even painful to choose only one album of songs from them. The amount of material and the difficulty of selection seemed to take up an unnecessary amount of valuable studio time at times. Otherwise, making the album went smoothly as always. From the artist's point of view, the album got a hell of a new sounds and atmosphere. A very cleansing experience. The tenth prophecy has been given. You're welcome!” - MC Raaka Pee
Turmion Kätilöt was formed in 2003 in Finland by MC Raaka Pee and Dj Vastapallo. Soon they were joined by the other members of what would become Turmion Kätilöt: Master Bates, Run-Q, DQ and Spellgoth as a second vocalist. With a couple of line-up changes as Dj Vastapallo left the band in 2009 replaced by Bobby Undertaker on guitars (ex-Deathchain) and Spellgoth leaving in 2017 replaced by Shag-U (Fear Of Domination) on vocals, Turmion Kätilöt has become the mean disco metal machine they are today.
From the very beginning Turmion Kätilöt has had a reputation of being a great live band. Disco beats from the 90’s, metal to the pedal, melodies, sing-a-longs, you name it – there are no rules. Yet still if you peek under the skin you can find the darkness pointing its finger to you. Their live shows have been praised to be the fiercest and craziest mayhem to be witnessed creating the twisted world of Turmion Kätilöt.

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don’t need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn’t a letdown as far as the illustrious company of their forebears goes. In fact, it’s a fast-paced thrill ride that oscillates between hip-shaking rock’n’roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin’ Fine 7”, which dropped via Drunken Sailor (hey, those guys sound familiar…) early in 2021. If you though that short EP was a good time, wait ‘til you see what they’ve got in store here: right out of the gate, opener Dead Man’s Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that’s a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There’s no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock’n’roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that’s not the point. Much like The Stools, there’s nothing you can say about Toeheads that can’t be summarised with the phrase ‘total exhilaration’. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two young bands who make playing loud, fast and dumb sound easy. Call it conviction, call it chutzpah… hell, call it talent if you want, I ain’t gonna stop you. But chiefly, call it a fucking good time and put the damn record on. This slays. Will Fitzpatrick.

Cardinal Fuzz and Centripetal Force (North America) announce First Welcome, the eighth full length album from the ever evolving, veteran psychonauts White Manna. The album is being presented in a 500 copy vinyl pressing and will be made available for preorder on November 12th. The official release date is December 10th. White Manna's longevity as one of the leaders of the modern psychedelic movement is attributed to their willingness to introduce new elements to their sonic repertoire. Initially, these moves were subtle, but as the band has moved on through the years, these moves have become much more pronounced, always leaving listeners wondering what is in store for them as new releases are announced. So, here we are with First Welcome, an album that features warbled country leanings, airy blooms of ambience, and occasional hints of a German yesteryear, all implemented into the band's signature hazy and spacey mosaic of sound. None of these developments are unexpected, as they do build off of their previous album ARC, but here we see the band expand these elements and really make them their own. It should be noted that First Welcome is a product of the COVID era, with much of the recording happening in quarantine or while socially distanced. The band's process relied on communicating via email and sending music files back and forth. For White Manna this made the world of COVID both more fun and challenging, and they used the opportunity to get friends in different places to overdub tracks. Backing vocals and slide guitar were recorded while camping in the Mojave Desert. The saxophone was recorded in Liverpool. England. The trumpet sounds and some of the passages on the Rhodes were laid down in Northern California, and much of the vocals, piano, and synthesizer tracks were recorded in Costa Rica. As a result, the sound of First Welcome is reflective of the circumstances of these contemplative times. White Manna is recommended for listeners of everything from Hawkwind to Harmonia - and everything in between.

'It sounds like Roedelius remixing a Spacemen 3 track'

The four-piece known as Man…or Astro-Man? have been using the pandemic to conduct more research at Astro Labs and a by-product is a new vinyl single! The B-side features a cover by Solid Space. Space 1991. The year the future finally begins! You now indeed live in the future. The past is so outdated and we all know how fleeting the present is, so seriously... why not live in the future? In fact, the first ever computer “website” was created this very year. Soon enough, everyone will have their own personal “website” or “webspace” that will reside in its own virtual “domain.” Think of it: everyone in the whole world will be now be digitally connected and able to interact in just a matter of a few minutes. Dear citizens of the past and present: we want to welcome you all. Enjoy the future. The future is now.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

After living a number of years in the United States, GRAMMY® and ICMA Nominated Finnish violinist Petteri Iivonen returned to Europe where he became concertmaster of the Finnish Opera orchestra in Helsinki before moving to Paris to serve as concertmaster for the Paris Opera. Petteri's ability to play in many styles with sincerity and his natural lyrical facility with his instrument made him the ideal candidate to work with luminary conductors such as Esa-Pekka Salonen in Helsinki and now Gustavo Dudamel at Paris Opera.

Petteri commands his instrument with ease. While much of his playing is exceptionally beautiful, it is not beautiful for the sake of being pretty. I have heard few violinists with Petteri's ability to control color and timbre, and even fewer who use this ability for such musical and appropriate ends. Petteri plays a Ferdinandus Gagliano violin in this recording, built in 1767. We recorded this performance during a live concert in Alfred Newman Hall at the University of Southern California. We chose a legendary Austrian AKG C-24 stereo microphone with the original brass surround CK12 tube, Midwood vacuum tube preamplifiers and no mixer recording to Agfa-formula 468 tape. The signal path was as short as we could make it, with as few electronics between performer and final product as we could manage. We hope you enjoy the results.

The chaconne most likely originated as a dance in the New World which returned to Spain (along with much gold melted into blocks from irreplaceable Pre-Columbian art and jewelry) after the conquest of the Americas. This original chaconne offered a fast, sexy, syncopated rhythm. Composers treated this dance with increasing invention and gravity during the Baroque era. Henry Purcell wrote complex and chromatic chaconnes for violin. Bach's Chaconne, from his Partita No. 2, may represent the culmination of this genre. Petteri plays with authority and freshness in any environment, and this recording reminds me handsomely why Johann Sebastian Bach remains among my favorite composers of all time.

Not a great deal is known about this talented artist having released only 4 albums in a recording career that started in 1993. Raised in a musical family by piano playing parents he began learning the instrument at an early age, later concentrating on the saxophone, but became a multi-instrumentalist by the time was signed to Verve Records, playing most forms of keyboards, synths, vibes, as well as sax and flute. He moved to Florida, from his native New York, shortly after graduating from studying music at university in New Jersey, and played in local rock bands whilst developing his love for jazz, and was working on a demo to try and get a record deal. 
 
Disaster struck when he was involved in a serious boating accident in which both hands were badly crushed and he was unable to play an instrument for many months, during which time he developed a skill for singing and composing. Turning adversity into opportunity is the best way to describe the outcome.
 
So why is a soul label interested in releasing some of his material? Both tracks selected, "One" and "Sweeter", are released on vinyl for the first time and come from his third album, "Lights On", released on his own label Eaak Records following a break of 7 years which was devoted to raising his children. The sounds are undeniably late night make-out music, lush, sophisticated and sensuous. 
 
The majority of plaudits for his work previously came from the world of contemporary jazz and, dare I say it, smooth jazz, and was largely ignored by the soul magazines and radio stations. His captivating falsetto vocal style, reflects his influences by Curtis Mayfield, Smokey Robinson and Marvin Gaye. All his material is self-penned and the albums were co-produced with drummer Guy Eckstine. There is an underlying 70’s feel to the contemporary arrangements and his work is clearly deserving of greater recognition.

Steve Hobbs (Solar Radio, Totally Wired Radio)soul

Daniele Baldelli presents the first official double vinyl on COSMIC, the historical italian club.

One of the 80's most advanced discotheques in the world that, thanks to the intuition of Baldelli, its main dj, became a palce that, even today, is a source for nspiration for new artist dj and producers

Waxwork Records in partnership with Back Lot Music is honored to release NOPE Original Motion Picture Soundtrack by Michael Abels. Oscarr winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope. The film reunites Peele with Oscarr winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer and Oscarr nominee Steven Yeun as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. NOPE marks Abels' third feature film score with director Jordan Peele, having previously scored Peele's GET OUT and US. The album also features songs from the film, including a new version of Corey Hart's classic "Sunglasses at Night (Jean Jacket Mix)", Dionne Warwick's "Walk on By", The Lost Generation's "This is the Lost Generation", Exuma's "Exuma, the Obeah Man", and a never-before-released gem by a young Jodie Foster, "La Vie C'est Chouette" from the 1977 film MOI, FLEUR BLEUE. "NOPE is my most ambitious score to date," says Abels. "There are elements from the genres of sci-fi, action, horror, and westerns, but always through the tonal palette of Jordan Peele's unique vision. The lines between source music and score are blurred, as a good part of the score seems to be playing at the theme park, which is a key location in the story. The score is at times terrifying, yet also invokes the sense of awe and wonder that the characters feel as they realize what they are seeing. The film eventually becomes a grand adventure, and so the music expands into the larger-than-life scale we expect of a summer blockbuster." He goes on to say, "it was a joy to compose a score that encompassed such a broad range of genres and emotions, and I'm thrilled to have audiences experience all of them through this album." "Michael is one the most exciting composers working today - he has this amazing ability to create new sounds which was important for this film," Jordan Peele says. "He's able to play in the familiar and in the unfamiliar at the same time, so that helps give every film its own character, and he has an incredible mastery of so many different music genres." Abels is known for his genre-defying scores for the Jordan Peele films GET OUT and US, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards. The hip-hop influenced score for US was short-listed for an Academy Awardr and was named "Score of the Decade" by The Wrap. Abels is also co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media. Waxwork Records is thrilled to present the official NOPE deluxe double LP soundtrack album. The package comes complete with 180-gram colored vinyl, quality packaging, original artwork by Ethan Mesa, heavyweight gatefold jacket with matte coating, a multi-page 12" x 12" booklet, liner notes, & more!

(2022 REMASTER)

Murcof"s first three albums are to be reissued on vinyl to mark the 20th anniversary of the release of his seminal debut album, Martes. Out of print for many years, these albums have been hugely influential in the worlds of minimal and ambient electronic music in their use of modern classical instrumentation, and are significant landmarks in the history of The Leaf Label. Each of the reissues is presented in a new gatefold sleeve featuring updated artwork, with Remembranza and Cosmos featuring fully remastered audio, and Cosmos including a previously unreleased bonus track.

CoOp Presents is incredibly proud to present an all-new compilation album put together by Allysha Joy. This 14-track LP gives us a solid glimpse into the current wave of Antipodean bruk / broken beat artists.

Allysha explains "the connection began with a guest mix for CoOp Presents Worldwide FM radio show. I was asked to guest on the show, so pulled together some heavy unreleased and unmastered "Australian" broken sounds. I immediately called Horatio, Close Counters and Setwun, some of my nearest and dearest inspirations and collaborators to get them in the mix! Within 24 hours I had a brand new beat from Setwun called 'H.B.Y', I ran up some vocals on a Close Counters track and landed a wild jazz-bruk collaboration called 'Fly' from Horatio Luna and Nikodimos! We all felt really blessed to be linking in with some of the innovators of the sound we love!

Also in the mix, I played a track by Lanu a.k.a Lance Ferguson, one of "Australia's" funkiest songwriters and producers. Mike Gurrieri and Chris Gill over at Northside Records had already been scheming to set Lance and I up on a music date for weeks, which turned into writing 'Rewind' . Lanu, along with Ennio Styles, have been integral in the broken beat sound down here from the early 2000s and they connected Jonny Faith in to bring 'Southern Stepper'.

After linking in over the music and working on some collaborations, Alex Phountzi and IG Culture asked me to put together this compilation. The first person that came to mind was Sampology. A wild ride of shifting harmony and incredible vocals, Sam delivered 'Sunny', featuring Maia. Also of Middle Name Dance Band acclaim and a beaming light of creative energy, Kuzko created 'Immunity' for the comp — their debut solo release!

Also up in Meanjin, Special Feelings and Squidgenini were making their own style of jazzy house music and we absolutely knew that they would kill it on the broken beat tip. They sent through 'On Heat' and 'Prophecy' respectively, and inspired me to write and produce 'Listen'. A track about the struggle to be heard as female and non-binary artists. A hard-hitter mixed by co-collaborator Yelderbert of our new duo project, Totek.

As my brother and the one that first introduced me to Agent K, I knew we had to get Ziggy Zeitgeist up in the mix! He immediately sent over a bunch of tunes, and from alongside all of the 30/70 Collective demo drum loops and fresh Z.F.E.X sounds, we selected 'Bruk Samba' featuring Cody Curry, the CC Dance Orchestra.

I had managed to pull together a bunch of tunes for the compilation and after a studio session one afternoon I was walking down Sydney Road and bumped into Silent Jay, Alien and A.KID a.k.a. ACID SLOP at their new spot, the Mandarin Dreams HQ. We were just chatting and above Jay's head I spotted the New Sector Movements record, 'Download This'! To see that they'd just been spinning this record felt so serendipitous, so I had to ask them to be on it! Acid Slop sent me through a tune literally the next day, called 'Everything Falls Apart' and within the week we got 'Walk Away', from Lori and Silent Jay. It felt complete.

The way that this music just effortlessly and lyrically fell together, is a testament to the broken beat undercurrent that runs within the jazz and dance music scene down-under. 'They're Energised' connects a scene of deeply talented and inspired musicians, collectively shaping the new wave of uniquely "Australian" bruk and broken beat music!"

'They're Energised' is released mid-November 2022 on double vinyl and digital worldwide via CoOp Presents.

"Matasuna Records" musical journey takes the listener this time to "Panama" - a country in Central America, which offers a rich and breath-taking variety of musical treasures. In a first reissue, two songs from the legendary "Loyola Records" label were selected, both released in 1969: one by "Camilo Azuquita" and one by the group "Panama Brass". Two super-rare tunes that fetch crazy prices, if you're lucky enough to find a copy at all. Available for the first time as an official remastered reissue on 7inch vinyl - the song by Panama Brass even makes its 7inch premiere. Don't sleep on it!

The A-side features the killer boogaloo tune "Borombon" by "Camilo Azuquita". Its take of the song composed by "Javier Vasquez" is undoubtedly the best version of this song. The striking piano, driving bass and rich horns are fueled by percussive accompaniment and especially by Azuquita's powerful voice. A terrific song that has also recently gained new notoriety in movies and series - such as "Better Call Saul".

The B-side features the instrumental Latin Jazz/Guaracha tune "Con La Mano En La Biblia" by "Panama Brass" - an orchestra led by the excellent organist "Cristobal Munoz Jr." and consisting of Panama's best musicians. A no less energetic and furious song composed by "G. Garcias". The musicians of the orchestra combine a great musicality and diversity in the song, delivering a special delicacy.

"Camilo Luis Argumédez" is a singer and composer born in "Colon (Panama)" on February 18th 1945. He became world famous under his stage name Camilo Azuquita. He began his career at a young age, when he participated in various competitions organized by local radio stations. He left Panama for the first time for an engagement in "Lima (Peru)" - the prelude tocountlesstrips.

After returning to Panama, another engagement in 1966 took him to "Puerto Rico", where he also recorded music. Due to a tour he was involved in, he ended up in "New York City" where he made new & fruitful acquaintances with other artists that resulted in some more recordings.

In 1968 he returned again to Puerto Rico, where he joined a band to record an album. In the following years, tours and concerts followed, as well as an engagement in a club where he musically accompanied many stars of Latin American music.

Between 1972 and 1976 he spent four years in "Los Angeles", where he performed in night clubs, recorded two albums and toured California with his own band "Melao". In LA, through a brother of the "Fania" boss, he got a contract with "Vaya Records", a subsidiary of the Fania label, which brought him back to New York City in 1976. There he joined the band "Tipica'73" and their two following albums brought him much success.

A tour led him to "Paris", where he met the journalist "Pierre Goldman". A proposed project became reality two years later: Azuquita opened the first Parisian Salsa Club. As this became a complete success and the audience filled the club on each of the evenings, a first engagement of one month was extended to several years. In France, he performed at the world-famous "Olympia Theater "or played at the "Old Bourget airport", opening for a live concert by reggae legend "Bob Marley" in front of 75,000 people. From France, he traveled throughout Europe, where the performances in front of European audiences brought him enormous prestige.

From 1985 to 1987, "Azuquita y su Melao" toured extensively in "California", where he signed a 1-year contract at "Club Candilejas" in "Hollywood" in 1988. In the following decades, he recorded many more albums - in NYC, Cali (Colombia), France or Havana (Cuba), among others. In addition, he was still very active on tours, festivals and concerts around the globe. An extremely remarkable artist, whose activity has brought him to the top.

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"Panama Brass" was an orchestra directed and orchestrated by the excellent organist "Cristobal Munoz Jr." The orchestra consisted of one of the best musicians of Panama at that time. Munoz was an exclusive artist of "Loyola Records" at the time and was considered a promising or up-and-coming conductor. That this album could be realized at all had only been possible thanks to Hubert J. Pretto. Pretto, then Assistant Vice President & General Manager of "Coca Cola Panama" arranged the funds necessary for the realization of this album and supported the campaign to promote music culture in Panama. This album would remain the only one released by this group.

The Belgian minimal synth band's three releases – a cassette and two vinyl EPs – were all titled »Against The Dark Trees Beyond«. This compilation collects the songs from these records.

"They were interesting times, the early eighties. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mould and experimented with new content matter, singular song structures and – in many cases – new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception: Digital Dance, Snowy Red, The Names, Pseudocode, Marine, 1000 Ohm, De Kommeniste, M.Bryo & D.M.T., De Brassers, Struggler, Siglo XX are but a few legendary names of bands and artists who started making a name for themselves.

In Leuven, things were happening as well. Until then, the music scene in this rather provincial town had been dominated by straightforward rock and blues acts. Not for much longer, though: in places like Arno'z and (later) The Gladhouse, where young budding artists met with kindred spirits, bands were often formed on the spot and, more importantly, started to make ripples.

Ludo Camberlin and Karel 'Bam' Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. The full band name, by the way, was inspired by a phrase from the Irish-American novelist J.P. Donleavy, a writer who belongs in the definitely-worth-checking-out section.

After appearing on the first No Big Business LP (1981) with the instrumental 'Fisk', A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music – which would later be dubbed 'minimal' – was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (for the synth geeks: Korg Delta and MS20, Roland SH-2 and Jupiter IV, and the infamous Casio VL-1). Camberlin’s vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience: 'Means To An End' started out as a proto-industrial track before bursting out into a moroderesque finale. The remix of 'Fisk' was as sprightly as the next river salmon, while 'Or Lie Again' proved the perfect soundtrack to a nightly walk through wet deserted streets. On the other hand, 'Through With Life', rife with disturbing sound effects countered by a slow portamento, could have been a prize track on a post punk 'Lamb Lies Down On Broadway'. And in true dramatic fashion, 'Follow The Signs' was the perfect ending of this five-song cycle: a driving sequencer and gripping chord progression coupled with a simple but powerful vocal line. Considering the limited technical means the duo was working with, this was no less than a triumph.

A few months later, the band released a seven-inch single on its own ABLACO label. 'Dark Trees Beyond', a quirky pop song, was coupled with 'Addict Of Time', a dark and brooding spoken word piece. Not the kind of single to storm hit parades, but it didn't go unnoticed. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of 'Through With Life') showed a band on the top of their game: 'The New Ones' was a wry and haunting song built around a live drum loop and an ominous bass pattern, while 'Nowhere Else' was a near-pop track with very un-minimal vocal harmonies. And it's a mystery why 'Altitude' – another instrumental – was never used in a stylized, high-profile detective soundtrack.

Another song from these sessions, the revved-up 'Cold As Ever' turned up on the high-profile Plurex "Hours" compilation, where it shone brightly, next to songs of a.o. X-Mal Deutschland, Nasmak, Minny Pops and Section XXV.

Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour, but the fact remains: as studio recordings go, 'The Ultimate Fight' on the "No Big Business 2" compilation, was to be their swan song. What a way to go, though: maybe their best song ever, this was a synthetic bastard funk groove, complete with shout-out chorus and punch-drunk middle-eight. It shut a door, for sure, but it did so with a resounding bang.

So there it is and there it was. Short, sweet, visionary, pioneering and highly influential. And as anybody listening to this first ever compilation will be able to assess probably one of the most colourful electronic acts of its time.

On a more a personal note, A Blaze Colour proved to be instrumental in my own coming of age as a lyric writer, when Ludo and Bam graciously adopted some of my earlier writings, warts and all. To hear them translated into songs was no less than magic, and it certainly gave me the confidence to start our own band a bit later. And the magic continued when Ludo became our producer and Bam designed our record sleeves. But that’s another story, obviously. Because this is the place and the time to dive back into the wondrous world of A Blaze Colour!"

Bart Azijn (Aimless Device)

Back in stock !

First Word Records is very proud to present a brand new full-length album from Kaidi Tatham. 'It's A World Before You'.

Following on from two EPs released on First Word last year ('Changing Times' and 'Hard Times'), Kaidi has delivered us thirteen tracks that deftly illustrate his various talents as a multi-instrumentalist.

Kaidi is probably best known for his work with Bugz In The Attic, though his musical contributions over the years have also included Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler, Chris Dave, Macy Gray, King Britt, DJ Spinna, Mr Scruff and IG Culture to name but a few! In recent times, he's worked with DJ Jazzy Jeff on a variety of projects, including his most recent album 'M3', touring Europe for Jeff and Will Smith's reunion shows, and on the PLAYlist album 'Chasing Goosebumps', with Glenn Lewis, Stro Elliot (The Roots), Masego, Maimouna Youssef, Rich Medina, Daniel Crawford and more.

All this in addition to heating up dances around Europe with his inimitable DJ sets, and working heavily with First Word label-mate, Eric Lau (who also mixed this album) on a variety of projects, and adding releases to his already impressive catalogue on 2000 Black, Eglo and Theo Parrish's Sound Signature, with regular compadre, Dego (who features on the album's title track).

This album personifies Kaidi's diverse palette of sounds - bar Eric & Dego's features, every piece of music is played by himself. Largely flowing on a broken beat rhythm section, Kaidi effortlessly incorporates washes of afro, latin and funk throughout. From the harmonics of 'Your Dream Don't Mean A Thing', to the breakneck funk of 'Outta Audah', each and every riddim exudes energy. But this isn't simply a bruk record. The album is laced together with downtempo beats and future jazz interludes throughout, and some sweet synth boogie is never very far away, especially on the weighty vibes of 'It's About Who You Know'. To top it all off, there's two delightful nuggets of hip hop soul - Mancunian label-mates, Children of Zeus, feature on the neo-soul vibes of 'Out Here On My Own', and there's a feature from Amir Townes, better known as Uhmeer - an upcoming MC from Philadelphia, and son of one Jazzy Jeff Townes - who rides a sub-heavy, piano-led slice of boom bap, voicing an assortment of characters to tell the tale of 'Cupid'.

'It's A World Before You' is set to cause serious damage to sound-systems over the Summer, and show and prove once again the skills of one of the UK's best unsung musical talents, Kaidi Tatham.

Dub Inc, one of the most famous French reggae bands, is back with a new studio album! For ten years, the musicians and singers have been sharing on stage their inimitable sense of melody, sincere lyrics and human ethics. They managed to get fans all over the world (from the US to North Africa, Germany, Portugal etc) and collaborate with the most prestigious international artists (Tiken Jah Fakoly, David Hinds, Tarrus Riley...) With their unique mix of reggae, dancehall, kabylian and world music, the band, led by singers Bouchkour et Komlan, delivers his universal message around the planet, advocating for diversity and spreading their explosive energy!

Dopeness Galore / Records We Release
"A newfound father's attempt to pass wisdom on to his children."

- Spring 2019 -

"As my girlfriend’s pregnancy was steadily treading along, I settled into my home studio in the attic of our new house. In our previous apartment I had a tiny room which could hardly fit my recording gear, let alone my drums which were still sitting at my parents’ house eating dust. Now that we’d moved into a bigger place, I had confiscated a part of the top floor to build my studio. This time I had just enough space to fit my drum set together with other percussion instruments, Fender Rhodes and synths. This sparked a whole new world of creative opportunities.

At the same time I also started to think about what kind of wisdom I would want to pass on to my children. I started writing down my thoughts. Little anecdotes, ponderings and things to think about as a human being.

These two events took place in parallel and once I actually started jotting down my first compositional ideas I saw the concept right there in front of me bright as day.

This LP has been written and recorded as inspiration to think about things and to keep re-thinking again and again to strengthen the knowledge of self.

Fruit Distro Collective is heavily inspired by Jazz composition, Hiphop drum sounds and the percussive elements of Afrobeat and Afro latin styles. "

LP including booklet with extended liner notes. Channeling wild seventies Impulse vibes, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's 'We Insist' era: BRAHJA is soul searching their spirit on 'Watermelancholia'.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. Waldman has accompanied his aunt, poet Anne Waldman, since the age of ten. Waldman is a co-founding member of Radical Reversal, Diva of Deva Loka, and Notable Deaths. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

As a youngster, Waldman was taken under the wing of avant-garde giant Paul Bley. Along with Anne Waldman and cousin Ambrose Bye, Waldman is a co-producer for Fast Speaking Music -a NYC poetry and music label which has released recordings with Amiri Baraka, Meredith Monk, William Parker, Laurie Anderson, Eileen Myles, CAConrad, Fred Moten, Daniel Carter, Clark Coolidge, Thurston Moore, Joanne Kyger and many others.

Ancient to the future 2.0

Watermelancholia is about the law of Karma:
a law so obvious that it often goes unspecified and ignored.
Neglecting this law invites a world of chaos.
It's been articulated in endless ways.
Some have called it Cosmic Law or Natural Law.
Others translate it as Do No Harm.

(liner notes excerpt)

The moment the first bass note of Luke Stewart kicks in on 'Watermelancholia', followed by the swelling drum roll of Malick Koly and the lush leading voice of Janice Lowe you feel Devin Brahja will take you on a deep mind-blowing spiritual journey.


Channeling wild seventies Impulse vibes on 'O.P.K' or, could we say, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's 'We Insist' era: BRAHJA is soul searching their spirit on 'Watermelancholia'.


A poetic stream of consciousness, backboned by top-notch musicians, transcending the cosmic universe, trying to find answers and musically connecting.


Watermelancholia is a meditation on healing the inner schism between the sense of self - the ego - and the inner being. It is about bringing the ego to justice; putting it on trial, as it were.

With her skill in carving melodies and shreddable moments from rock foundations, songwriter Skye Wallace is an expert at proving herself in every room, at every turn. Wallace knows the way is paved with second-guessers, and encounters with unsolicited advisors are plentiful in this world. In truth, the harshest critic is usually within. Shaped by an upbringing of constant motion, with collapse and rebuilding at the core, Wallace is at home with the idea that change, especially in oneself, is a constant. This truism has shaped her new songs, finished during lockdown but dealing with a time when staying in one place was wishful thinking. For Wallace, there's both comfort and conflict in remembering and reconciling the versions of herself formed at the many stops along the way.

First Word Records is very proud to bring you a brand new album from Takuya Kuroda!

Takuya Kuroda is a highly respected trumpeter and arranger born in Kobe, Japan and based in New York City. 'Midnight Crisp' is Takuya's seventh studio album, entirely self-produced and following 2020's highly acclaimed 'Fly Moon Die Soon', also released on UK label First Word (winner of the Worldwide Award's Label of the Year in 2019). Consisting of six new tracks, this once again sees Takuya displaying his unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop.

After following the footsteps of his trombonist brother playing in big bands, he relocated to New York to study jazz & contemporary music at The New School in Union Square; a course he graduated from in the mid-noughties. It was here that Takuya met vocalist José James, with whom he worked on the 'Blackmagic' and 'No Beginning No End' projects.

Following graduation, Takuya established himself further in the NYC jazz scene, performing with the likes of Akoya Afrobeat and in recent years with DJ Premier's BADDER band. Premier said "The BADDER Band project was put together by my manager, and an agent I've known since the beginning of my Gang Starr career. He said, 'What if you put a band together that revolved around a trumpet player from Japan named Takuya Kuroda? He's got a hip-hop perspective and respect in the jazz field…"

Takuya Kuroda is already incredibly prolific, releasing six albums in the past decade and fortifying a solid reputation in the global jazz scene. 2011 saw the release of Takuya's independently-produced debut album, 'Edge', followed by 'Bitter and High' the following year and 'Six Aces' on P-Vine in 2013. Takuya was signed to the legendary Blue Note Records in 2014 for his album 'Rising Son', as well as appearing on their 2019 cover versions project, 'Blue Note Voyage'. He released his 5th album 'Zigzagger' on Concord in 2016, which also featured Antibalas on a reimagining of the Donald Byrd classic 'Think Twice'.

His last album was the afore-mentioned 'Fly Moon Die Soon' on First Word, which received plays and support from the likes of Pitchfork, Earmilk, Bandcamp Weekly, Worldwide FM, All About Jazz, Apple Music, Tidal, Stereogum, Treble, Brooklyn Vegan, FIP (France), Tony Minvielle, Jazz FM, Huey Morgan (BBC 6 Music), BBC Radio 3, Novena Carmel, KCRW and tons more DJs, tastemakers, selectors, radio stations, bloggers & magazines.

The new project 'Midnight Crisp' will be released October 21st 2022 on vinyl, CD and digital, worldwide via First Word Records.

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

The word datasal paints inner pictures for most people growing up in Sweden during the 1990’s. The datasal (a classroom for computers) was an ordinary classroom with few changes to fit the school’s 10 newly leased computers. The room represented the change of times in Sweden during this period: the fixed institutions and the awaiting digital flood wave.

The music of Datasal sounds captures the feeling of printing a downloaded picture of your favorite hockey player or music artist or the expectations building up as you wait for the modem to log in to interact with the thousands of users of the internet in 1995. The two tracks on this release manifests the excitement but also the bit of fright you felt connecting to the world in the mid 90’s - a time when the internet still was fun.

The sound is built around repetitive sequencer loops and programmed beats where electric bass, electric guitar and flute improvise around a theme, creating a sound that is best described as cosmic flute house. Datasal is an harmonic reminder of a time where digital progress seemed less harmful than today.

Celebrate Christmas with an array of stars and the best crooning talent the world has ever known. Featuring classic songs and festive favourites from Bing Crosby, Frank Sinatra, Eartha Kitt, Dean Martin, Gene Autry, Perry Como and many more, this LP is the perfect seasonal soundtrack.

In 2009, following the death of Jhonn Balance four years earlier, This Immortal Coil's "The Dark Age Of Love" appeared as a tribute to the superb work of the British band Coil over two decades.Formed by musicians from all walks of life, the album was praised by critics but also, and most importantly, by Peter Christopherson himself! 13 years have passed and this passion for the band has never wavered. Following the death of Peter Christopherson in 2010 on the one hand, and meetings with musicians such as David Chalmin or Massimo Pupillo from Zü who in turn wanted to pay tribute to this gigantic band, on the other hand, Stéphane Grégoire's desire to make a new opus took shape in 2017 with a first recording of the title "Where Are You". Just like the first one, more than 5 years will be necessary to realize this new album so that it is at the height of Coil's genius. The Ici d'Ailleurs team is very proud to unveil This Immortal Coil's second album 'The World Ended A Long Time Ago'.That will be available on December 09, 2022 in several formats that will be revealed very soon. The artists this time are Coil lovers but without the album being a "lovers" cover, that would be the opposite of Coil's image. Many, many thanks to Shannon Wright, David Chalmin, Matt Elliott, Christine Ott, Aho Ssan, Gaspar Claus, Aidan Baker, Ulver (Kristoffer Rygg, Ole Alexander Halstensgard, Stian Westerhus), Massimo Pupillo, Mattia Cipolli, Elisa Bognetti, Stefano Michelotti, Francesco Bolognini, Marton Csokas, Ivan Chiossone and Eric Aldéa who make this project a reality.

In 2009, following the death of Jhonn Balance four years earlier, This Immortal Coil's "The Dark Age Of Love" appeared as a tribute to the superb work of the British band Coil over two decades.Formed by musicians from all walks of life, the album was praised by critics but also, and most importantly, by Peter Christopherson himself! 13 years have passed and this passion for the band has never wavered. Following the death of Peter Christopherson in 2010 on the one hand, and meetings with musicians such as David Chalmin or Massimo Pupillo from Zü who in turn wanted to pay tribute to this gigantic band, on the other hand, Stéphane Grégoire's desire to make a new opus took shape in 2017 with a first recording of the title "Where Are You". Just like the first one, more than 5 years will be necessary to realize this new album so that it is at the height of Coil's genius. The Ici d'Ailleurs team is very proud to unveil This Immortal Coil's second album 'The World Ended A Long Time Ago'.That will be available on December 09, 2022 in several formats that will be revealed very soon. The artists this time are Coil lovers but without the album being a "lovers" cover, that would be the opposite of Coil's image. Many, many thanks to Shannon Wright, David Chalmin, Matt Elliott, Christine Ott, Aho Ssan, Gaspar Claus, Aidan Baker, Ulver (Kristoffer Rygg, Ole Alexander Halstensgard, Stian Westerhus), Massimo Pupillo, Mattia Cipolli, Elisa Bognetti, Stefano Michelotti, Francesco Bolognini, Marton Csokas, Ivan Chiossone and Eric Aldéa who make this project a reality.

Japanese street music icon, Yasushi Ide released new album featuring Don Letts, Josh Milan, Jeff Mills, DJ Krush and more.


"This is a sound track for rude, underground adults! Amazing mixture of reggae, dub, funk, jazz, rock, afro, house. Masterpiece that goes beyond genres of music created by great producer, Yasushi Ide who has relentless motivation and global network of talents." - Shuya Okino (Kyoto Jazz Massive / Kyoto Jazz Sextet)

"Great album! It is amazing to finish such a big project involved many collaborators at this high quality only in a year and 4 months. The magic of Cosmic Suite is there are variety of styles, and it makes you feel deep and spiritual at one point, but at the same time you can feel relaxed. Also, I have to say that the sound quality is great. It sounds very clear and it can only be done with top level recording and mixing professionals." - Ken Ishii

Yasushi Ide is the Japanese street icon. In the 90's he was called "the Guru of Shibuya-kei" which was the movement of Shibuya style of eclectic pop by the artists such as Cornelius, Pizzcato Five, or Original Love who is once again recognized in City Pop revival of recent years. (Yasushi Ide was a manager of Original Love, and also Kenji Ozawa)

Through his works, he has been creating the global network of musicians such as Josh Milan of the Blaze, house music icon, Don Letts, the pioneer of connecting punk rock with reggae, and Jeff Mills, Detroit techno legend, and released a great amount of hi-quality music on his label, Grand Gallery.

The Cosmic Suite project started in 2020, during the pandemic. It started as a project to reconstruct the parts of music Jeff Mills created for Chieko Kinbara, a violinist which Mills produced. However, it turned out to be 36min of spaced themed original track = Cosmic Suite.
(There are few phrases of Jeff Mills music left in the final version) This masterpiece created a buzz in the music scene in Japan and overseas, and became Yasushi Ide's new beginning.

In June, 2022, Ide released "Cosmic Suite 2". Originally, Cosmic Suite was an instrumental. "Cosmic Suite" is the reconstruction of "Cosmic Suite 2" with the element of vocals. In this project, Don Letts, Josh Milan, DJ Krush are featured as guest musicians. Moreover, drums of Tony Allen, the legendary Afrobeat drummer, and Style Scott, a drummer known for his works in early days of ON-U label, and Gota Yashiki, a Japanese drummer known for his works with Soul II Soul are featured in this album. Also, Japanese brightest talents such as Kan Takagi of Major Force, Kaoru Inoue aka Chari Chari, Tomoyuki Tanaka aka Fantastic Plastic Machine and Calm are featured as artists and engineers. This is the true dream team of the Japanese underground music scene.

The artwork is done by Josue Thomas, the founder of popular fashion brand, Gallery Dept. He is also featured as poetry reading artist in track 1 of "Cosmic Suite 2." Ide and him collaborates in various projects under the concept of "Universal Music Connection."

Yasushi Ide's also well received as a dub artist. (beside his wide range of musical styles)
His dub cover of Bill Withers' "Ain't No Sunshine (Space Dub Mix)" is selected for "Late Night Tales mixed by Don Letts" in 2021.

Highlight of "Cosmic 2" is the unique dub sound in tracks such as "Lava" feat. UA, the Japanese singer often described as "Japanese Bjork", and "Sumimasen Suite" feat. Rebel Dread (= Don Letts).

Tokyo is the melting pot of street music from all around the World such as Dub, Jazz, House, Hip Hop, Afrobeat, Punk rock, Techno,,, You can see the influence of all spectrums of rebel music in this album. This unique avant-garde music can only be created by Yasushi Ide, who has been heavily involved in this truly unique music scene for a long time.

United States at the beginning of the 1960s, the vibrant speeches of the great defenders of the black cause were soon relayed by the artists of the time.... The groove revolution is underway! Dive into the heart of this era with the proud voices of the Artists who made the Protest Song! A fine selection with : GIL SCOTT-HERON - Angela Davis- Doris Duke- Seven Seas- Shirley Caesar- Skull Snaps- T-Connection- The Whatnauts...

A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes. Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes' side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for. Following the Middle-Eastern-tinged R&B of 2010's Palinopsia, d'Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop. Presently available worldwide on CD and Digital formats, Darkbloom will be available on vinyl, for the frst time in many territories, on May 20th, 2016.

(2022 REMASTER)

Murcof"s first three albums are to be reissued on vinyl to mark the 20th anniversary of the release of his seminal debut album, Martes. Out of print for many years, these albums have been hugely influential in the worlds of minimal and ambient electronic music in their use of modern classical instrumentation, and are significant landmarks in the history of The Leaf Label. Each of the reissues is presented in a new gatefold sleeve featuring updated artwork, with Remembranza and Cosmos featuring fully remastered audio, and Cosmos including a previously unreleased bonus track.

(2022 REMASTER)

Murcof"s first three albums are to be reissued on vinyl to mark the 20th anniversary of the release of his seminal debut album, Martes. Out of print for many years, these albums have been hugely influential in the worlds of minimal and ambient electronic music in their use of modern classical instrumentation, and are significant landmarks in the history of The Leaf Label. Each of the reissues is presented in a new gatefold sleeve featuring updated artwork, with Remembranza and Cosmos featuring fully remastered audio, and Cosmos including a previously unreleased bonus track.

White Vinyl

Murcof"s first three albums are to be reissued on vinyl to mark the 20th anniversary of the release of his seminal debut album, Martes. Out of print for many years, these albums have been hugely influential in the worlds of minimal and ambient electronic music in their use of modern classical instrumentation, and are significant landmarks in the history of The Leaf Label. Each of the reissues is presented in a new gatefold sleeve featuring updated artwork, with Remembranza and Cosmos featuring fully remastered audio, and Cosmos including a previously unreleased bonus track.

(2022 REMASTER) Green Vinyl

Murcof"s first three albums are to be reissued on vinyl to mark the 20th anniversary of the release of his seminal debut album, Martes. Out of print for many years, these albums have been hugely influential in the worlds of minimal and ambient electronic music in their use of modern classical instrumentation, and are significant landmarks in the history of The Leaf Label. Each of the reissues is presented in a new gatefold sleeve featuring updated artwork, with Remembranza and Cosmos featuring fully remastered audio, and Cosmos including a previously unreleased bonus track.

Detroit based producer & DJ 2lanes is happy to announce the evolution of his digital label ‘AUTO SHOP’ into the physical world with its first release; a new alias called OVERTONE SERIES. A collaborative project between 2lanes and fellow Detroiter Jonah Baseball, recorded over many sessions during early lockdown.

The "Shuffle Shack EP" has 4 tracks that span psychedelic deep house, dance floor stomping soul, and rejuvenating sunrise downtempo moments. The record also features performances from Jonah’s father David Gray, Los Angeles based singer Jia Pet and Ji Hoon - who was featured on the B-side “Impish Desires” on 2lanes breakthrough record on Portage Garage Sounds.

New Detroit-based G.U.S. Records label will exclusively offer original 100% Soul & Funk ''Unreleased'' productions from the 80’s that were never pressed on vinyl records or sold in other formats.

By offering ''Unreleased'' productions with the highest quality both acoustically and artistically to appeal to a 100% Soul & Funk audience, Records are limited to 525 copies numbered manually with a stamp from 001/525 to 525/525 in order to satisfy all fans and collectors of the world.

Debut album by Dutch producer w1b0, who passed away in August, to be released in November on U-TRAX.

Wibo Lammerts' sudden death on August 15thshocked the worldwide electro community, and also left the record label, that had been working on the debut album with the artist known as w1b0 for the past two years, dumbfounded and in grief.

Wibo had jokingly always called his upcoming debut album 'his legacy', which now sadly has become a painful truth. With the support of Wibo's family, U-TRAX is now doing the only thing that doesn't feel totally wrong: proceed as planned, and release 'When Humans Ruled The Earth' on November 11.

W1b0 made quite a name for himself with heavy electro tracks that he released on labels like Bass Agenda, Hilltown Disco and Discos Antónicos. Standing at 202 meters, and combined with a cheerful character, most people remember him as the gentle giant of electro.
For this album, Wibo wanted to steer away from the dark and heavy electro he mostly made until then. The idea of having a platform to create delicate electronic music in different styles, and make it a showcase of his versatility, was very appealing to him. And that is where he and U-TRAX found each other.

The full-length album (over 75 minutes on cd and digital) comes after 'The Pilex Program EP', released in October, that featured a remix by Detroit's Ectomorph of 'Pilex Driver' and saw 'Program Yourself To Feel' remixed by a well-known Dutch producer that recently created the new 'techno alias' Human Form.
As usual with U-TRAX, the album comes in three different editions, with the 11-track double vinyl version containing the Ectomorph and Human Form remixes. The CD and digital version boast original versions only, plus four additional tracks: 'Alternate Reality Interface', 'Mixed Matter Fluctator', 'Synthetic', and 'In There'. The cassette version more or less has the same track list as the CD/digi version, but has both aforementioned remixes and a bonus track in the incredibly hypnotizing 'I Wanted You', a track that unfortunately couldn't be on the CD and vinyl versions.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Opener 'Acid Whip' is one of the oldest compositions on this album, in which a dark 303 bassline hums over layers of spacey strings. Wibo named it after the legendary Whip It party in Amsterdam's De Melkweg. 'Alternate Reality Interface' then presents bouncy rhythms toying around with all sorts of analog (bass) synthesizers, before we go really deep with the epic ambient techno track 'Wandering Souls'.
Then things get a little lighter spirited: 'Mixed Matter Fluctator' is an electro track that builds on sounds created by Matt Buggins. It has very strong Detroit influences, the city Wibo loved so much and that he made a pilgrimage to with a group of friends that called themselves 'The Techno Tourists'. The tempo goes up a notch in 'Program Yourself To Feel', that halfway opens up in wide science fiction strings that evoke memories of Star Wars, the movie series that Wibo was a great fan of, and that was the source of many of his tracks' names. The Human Form remix opens the vinyl edition of this album and is a downright belter of a track.

Next is a somewhat experimental intermezzo named 'Synthetic'. Erratic beats and pounding bassdrums get accompanied by very subtle eerie-sounding strings, before melancholic synthesizers and piano chords take over. This is an excellent prelude to the epic 'Hologram Computing', a track that is one of our favorites. It slowly and softly builds and builds, before a pounding bassdrum breaks loose and a hypnotic arpeggio takes you to higher planes.
Not ready to letting the listener relax, w1bo then serves 'Beilstein Reference', which again presents his trademark cocktail of down-to-earth electro rhythms and catchy melodies, covered in all sort of little sounds and noises, giving the song a lot of energy. What follows is 'Hit me', a track loosely based on a song by Dutch indie rock band Mr. Joe Abe. Wibo met the band's singer on a camping site while being on holidays and the two decided Wibo should do a remix of one of their songs. Nothing was left of the original except the vocals, and the result is a remarkable cheerful, poppy electro song.

'Anticipated Input' is one of the more recent tracks Wibo made for this album, combining electro, acid and, yes: epic strings. But not all is peace and quiet on this album, as 'Pilex Driver' shows. This is w1b0 going experimental in a danceable fashion: Industrial sounds make the track sound like we're passing a construction site that is playing loud electro music. On the vinyl version of this album, Ectomorph totally decomposed the original and made it into a mysterious, almost subdued, and totally brilliant electro track that sees a main role for the retro Roland CR drum machines sounds.

TFHats, Wibo's fellow member of the Transhumanism collective, added lyrics to 'Cartesian Coordinates'. His vocals add a pleasant New Wave flavor to this song, that has breaks that remarkably reminds one of Nirvana's 'Smells Like Teen Spirit'. What follows is the most personal track on this album. 'Fornan' is a song that Wibo made for his wife Nanette, and was added as the last piece of the puzzle that creating an album is. The warm Detroit techno atmosphere in this electro song couldn't be a more beautiful tribute to his love, and mother of their two young boys.
The album then takes a surprising detour through a 1980s landscape with 'In There', that features the Joy Division-esque vocals of another one of Wibo's friends, indicated only as Vincent. The super slow and gloomy track is a treat for anyone that loved the darker side of New Wave. The album has a worthy closer in the sensitive, yet playful 'Schlegel Diagram'.








h 08: Hit Me (w1b0's Slugfest Assault Dub) feat. Mr Joe Abe

Afro-Finnish band Maajo return with their third album, "Water of Life," a fluid celebration of various influences. Supported by two preceding singles, "Better Days" and "Unelmissani," the album is the group's first release with the Brooklyn, NY-based tastemaker label Wonderwheel Recordings. Maajo's signature Afro-Balearic sound meets late eighties new age and fusion, with touches of modern soul. The addition of two band members, Waina and Gilbert K, as well as featuring artists Issiaka Dembele and Ismaila Sané, has rooted the album's stories in a diverse range of backgrounds, featuring vocals in no less than six different languages.

Gilbert K's drum grooves pay tribute to the late Tony Allen's legendary heritage and the percussion experiments on a more melodic and atmospheric tip. Cold synth pads and 303 squeaks blend with warm guitars, fretless bass, and Issiaka Dembele's sublime kora harps and balafon mallets. "Water of Life" shows a band at its maturation point, reaching the cross-cultural coalescence of Finnish-African sound that's ready for the dancefloor or home-listening.

The three vocalists take centre-stage on the album: Waina hails from Zambia and sings in Nyanja, English and Finnish; a renowned musician in Zambia for over two decades who now calls Finland home, Waina wrote a song that reached the finals of the 2020 Afrimusic contest. Gilbert K primarily sings in his native Mauritian Creole while comprising part of the percussion line. He made his way to Finland by way of South Africa and China, eventually winning the Voice of Finland show. Gilbert K has played with such legends as Tony Allen, Andy Summers, Diana King, and Suzanne Vega. Ismaila Sané is from the Casamance region of Southern Senegal and sings in Wolof (a widely-spoken language in West Africa) on "Ndekete," and in Jola (a smaller language in Casamance) on "Èwàn".

Maajo is a sonic, linguistic, and cultural melting pot that has come together in Tampere, Finland, like a tropical breeze from the cold north. Their musical explorations lead from equatorial soundscapes to the woods and moods of their native Scandinavia. African influences, electronic beats and organic rhythms, ethereality and the sounds of nature all make up the patchwork sound of Maajo.

Not only is Maajo's music a way of travelling to faraway places, the songs themselves have travelled all over the globe. Maajo has evolved from a sample-based electronic music project to a full-sized band, including African vocalists and musicians. The group has put out two full-length albums and three EP's on Queen Nanny records, in addition to a release on German label Permanent Vacation. Maajo has received the remix treatment from artists such as Luke Vibert and Call Super, and has toured festivals and clubs internationally. The band has built a dedicated international following having been championed by the likes of Gilles Peterson (Worldwide FM), Tom Ravenscroft (BBC Radio 6), and Tim Sweeney (Beats In Space), while they've been featured by KEXP (Song of the Day), Resident Advisor, Ransom Note, and Pan-African Music.

"Water of Life" is out on Wonderwheel Recordings October 14th, 2022, both digitally and as an exclusive, limited-run 2xLP.




d 04: Better Days (Kumba) feat. Waina & Gilbert K