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Odie Leigh would never have called herself a musician before the depths of the 2020 pandemic when her rapper roomies made a bet: Whoever records a song that goes viral first, wins. Slightly ticked off that they hadn’t included her in the wager, she decided to hit them with her best shot, and Leigh was crowned the victor when a track she wrote blew up on TikTok. “I was like, ‘I’m gonna show y’all. I’m gonna win.’“ Four years after posting what she calls “that silly joke song” on TikTok, Odie Leigh has continued to transform and evolve as an artist — from what she calls “acoustic, ethereal folk sad girl music” to harder-edged tunes that flirt with early Aughts pop-punktivism.

Born and raised in Louisiana, Odie Leigh sang in the church choir, sure — her grandfather built the building, after all, and her family attended three times per week. But after moving to New Orleans to study English, she fully intended on making her bones in the film industry. That 2020 wager changed things, though, when Odie realized that she could win hearts in addition to bets. After her releases began gaining steam on social media, Odie Leigh started hitting stages hard. She toured Europe, North America, and played Newport Folk in 2023, followed this year by gigs at Boise, ID’s Treefort Music Fest with more to come.

In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name): “Haunted”/”Nothing Is Forever” and “I Believe In You”/”Someone Who Cares.” A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, “Faithful” (in mono), as a bonus track on the 1990s CD release of Dusty’s 1970 Atlantic album A Brand New Me. The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts.

Then, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —assembled Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful on LP presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks meant for the album release out on vinyl over 50 years later. All tracks are in stereo, while the liner notes on the new gatefold spread, penned by The Second Disc’s Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic. A missing/ jumbled part of Dusty’s august recorded legacy, finally set right and available in its intended format. Out on metallic gold and purple “royalty” vinyl as befitting The Queen of Blue-Eyed Soul…limited to 1500 copies!

Celebrated Zambian guitarist and bandleader Paul Ngozi’s concept album about the stuggles of those living in Africa’s 1970s townships Includes Oversized 8 Page Booklet That Details Paul Ngozi and The Ngozi Family’s Arc, Including Rare Photographs, Discography And Annotation. The third entry in an era-defining reissue series on Now-Again centered around this Zamrock legend and his band - previous entries include Day Of Judgement and 45,000 Volts

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” (New York Times)

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere.

Brandon Tani is a multidisciplinary artist based in San Diego, CA. He is drawn to the varied intersections of minimalist, concrète, and found sounds. Mixing narrative and abstraction. Since 2022, Brandon has released music under the moniker "Daily Rituals" and has recorded 5 releases to date. This new album represents the first release under his own name.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

“Featuring appearances from: Special Guest DJ, Ben Bondy, Hysterical Love Project and some other people we can't name for legal reasons"

The holographic swarm that is Downstairs People returns with their latest collection of subconscious songwriting. Simply titled ‘DSP’, Downstairs People’s sophomore album expands on their surreal horoscope of Top 40 musings, with nine works that explore the altered states of pop.

DSP reimagines the FM radio spectrum with distorted hooks, sour candy production and cascading vocal harmonies with no lyrics. Sung to us in an unknown language, it’s an archive of warped transmissions from beyond our solar system, conveniently recorded and presented as a flat, spinning monolith.

A brief history of having no time, and an ode to the subversive power of pop music.

" Since the release of his previous album 'Paradise for all' , the profile of Guts has grown a lot to become one of the main french producer and a recognized name on the European scene.

His hit 'Brand new revolution' was played by many radios worldwide and even synchronized in Grand Theft auto V. His compilation series ' Beach Digginï' is now a reference for summer and quality music.

After 3 instrumental albums, Guts decided to come back to his Hip Hop roots (he created the french rap Band Alliance Ethnik in the 90s) and invited quality MCs and singers to join him in the studio. You can find on this album, some Hip Hop legend as Grand Puba, Masta Ace, Bob Power, Rah digga some singers as Cody Chestnutt, Patrice and a batch of new talents as Leron Thomas, Lorine Chia, Quelle Chris & Denmark Vessey, Dillon Cooper.

This albums contains hit singles like'Man Funk' Want it back (feat. Patrice)' Open wide'

Vinyl deluxe edition : double LP gatefold Replica sleeve with insert & download card.

About this release:


Without hip-hop, Guts wouldn't be half the producer he is today. Hip-hop as inspiration, a gateway to so many different musical styles, the trigger for a continually expanding musical bulimia, the springboard from which he dived into a bottomless musical well.
Hip-hop � which has been Gutsïtrue love for the last 25 years, despite its taking futile, gangsta and materialistic paths.
Hip-hop � which in quarter of a century has driven him to spend whole nights with samplers, drum machines, expanders and vinyl, tapping on pads, adjusting the drums and honing his samples.
Hip-hop � which is often done remotely nowadays by sending digital files back and forth. Guts has opted to make it shine like when it was all brand new, decided after three entirely instrumental albums to re-establish contact with rappers, vocalists, jazz players and soul men by packing up his productions and heading across the Atlantic to record them in their home surroundings in New York and California.
Backed up on production by the inexhaustible DJ Fab (Hip Hop Resistance) and supported from Paris by his label Heavenly Sweetness (�A French label spreading colourful music for the soul, Guts explores a host of styles, flows and atmospheres to build up a mosaic of 16 tracks, each nestling inside the other to form a single concept: Hip Hop After All."


[b] Open Wide [Feat Lorine Chia]
[c] The Forgotten (Don't Look Away) [Feat Quelle Chris &Amp; Denmark Vessey]
[d] Go For Mine [Feat Tanya Morgan]%U2028
[e] As The World Turns [Feat Rah Digga &Amp; Akua Naru]
[f] Man Funk [Feat Leron Thomas]

[h] Forever My Love [Feat Grand Puba]
[i] It's Like That [Feat Dillon Cooper]
[j] Want It Back [Feat Patrice &Amp; The Studio School Voices NYC]
[k] Enlighten [Feat Cody Chesnutt &Amp; Murs]

[m] Innovation [Feat Masta Ace]
[n] Come Alive [Feat Lorine Chia]

[p] Roses [Feat Leron Thomas]

Repress!

The 25th of September will see two of house and techno’s most-established talents collaborate on their debut release together, as Hot Creations head Jamie Jones teams up with Mood Records boss Nicole Moudaber on Pepper Shake.

Short, sweet and with no filler involved, Pepper Shake gets us underway swiftly, and the name certainly does the track justice. Up-tempo hats whistle beside a driving bassline, before a female vocal reels in and out. The styles of both artists are present throughout, with Jamie’s signature groove providing the foundation and Nicole’s deeper techno style coming through in the synths. Bubble Ride completes the release. Dark, gritty and harder-edged than its predecessor, this is a stripped-back peak-time club cut, with a penetrating bassline and hard-hitting kick patterns. The occasional pulse of an atmospheric sample further enhances the body of the track, to form something that’s built solely for the dancefloor.

As a world-renowned DJ and producer, head of Hot Creations and founder of the global Paradise event series, Jamie Jones has etched out a legacy in electronic music that few others can attest to. His personally curated Paradise series offers an international showcase of house and techno’s most recognisable artists, whilst his flagship label, Hot Creations, continues to pioneer a contemporary house sound. At the forefront of the MOOD brand, with offshoots including a record label (Mood Records), warehouse parties (MoodRAW), festival stages (MoodZONE) and a renowned global radio show (In the MOOD), Nicole Moudaber has rightfully established herself as a worldwide techno mainstay.

Repress!

RYUICHI SAKAMOTO'S 1985 ELECTRONIC AND AMBIENT CLASSIC RELEASED OUTSIDE OF JAPAN FOR THE FIRST TIME SINCE ITS ORIGINAL RELEASE WITH NEW LINER NOTES BY ANDY BETA AND AUDIO REMASTERED BY SEIGEN ONO

Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album "Esperanto", composed for a performance by New York avant garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, "Esperanto" is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. This special reissue comes with original artwork including a 2 pages insert with a new introduction by Journalist Andy Beta. The audio has been remastered in Tokyo by Seigen Ono.
"Esperanto" originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film "Merry Christmas Mr. Lawrence" (in which he starred alongside David Bowie), "Esperanto" was a return to Sakamoto's leftfield roots.
?Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion).
?Indeed, the album is a fascinating soundscape experimenting with the new sampler technology - which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time.
?Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive
repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones.
?One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album "Hidari Ude No Yume." "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from "Esperanto" would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin.
?A unique album in Ryuichi Sakamoto's rich discography, "Esperanto" is a groundbreaking work worth rediscovering in its full glory.

Freerange regular Simbad is back with a new 4 track EP following on from his 2021 Peaceful Revolution EP which got big support from Ron Trent, Gilles Peterson, Osunlade and Horse Meat Disco to name a few. Having based himself in Cape Town the last 5 or so years, the French born producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s, remixes and production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz, BBE & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa to Asia and beyond.

Lead track Nuphoria kicks things off in typical Simbad genre-bending style, sitting in a sweet spot between the Baltimore house of Karizma, the epic, uplifting techno of Laurent Garnier and the UK-centric rave sounds of Bicep and Kieren Hebden. Not an easy track to pigeon-hole but one that can’t fail to grab the dancers attention if dropped at the right time on a discerning dance floor.

Up next we have Dream featuring SA native Sanele who delivers a beautiful, raw and intimate vocal performance which fits perfectly with Simbads’ roughed-up drums and chiming Rhodes chords.

Flipping over Simbad delivers an alternate Pretoria Mix of Nuphoria which slows the pace of the original, adds a more rhythmic bassline and spoken word sample. A deeper alternative to the original which retains the euphoric quality thanks to its epic synth line and chords.

Closing out the release we have Wake Up featuring Frederick of Fifty Fathoms Deep who contributes to a bright and breezy house track with soulful chords and bouncing square wave bass line.

Warehouse Find!

Undoubtedly one of the most exciting acts to have emerged in drum & bass over the past decade, Voltage has joined forces with Hospital Records for the release of his long-awaited studio album 'Balance Over Symmetry' which marks the tenth year of his journey as a solo artist.

No stranger to the Hospital family with an album, 2 EPs and a handful of singles under his belt as part of drum & bass powerhouse group Kings Of The Rollers, it's now time to explore the solo sounds of Voltage which have slowly but surely carved him to be one of the most respected DJ & producers in the scene.

In his true rambunctious style, Voltage sets the swing with a wild card. 'So Close' is a sub-120BPM synthwave weapon which matches his retro-inspired fashion to his musical vibrations. The combination of catchy vocals, an 80s-esque bassline and an unforgettable topline melody sees the creation of something extremely different yet irresistible from Voltage.

Not straying too far from the roots of his influences, 'Natty Love' features the groove inducing vocals of sound system legend Sweetie Irie. Saturated sub wobbles juxtaposed with potent string plucks are intertwined with ease, peppered with that signature Voltage flair.

Teaming up with reggae and dancehall superstar Demolition Man known for his skill as a vocalist, producer, MC and sound engineer, 'Life Of A DJ' combines the sounds of Demo's with Voltage's unmissable sonic technique. 'Save Me From Myself' exposes
the lighter side to Voltage as he illustrates his versatility as an artist through a soul-heavy amen roller with a classic liquid bassline.

Reminiscent of the days of euphoric hardcore, 'Keep On Dancing' sets the vibe with uplifting piano chops and adrenalised vocals as crunchy snaps and rhythmic cymbals keep things moving beneath. An iconic duo to everyone who knows their drum & bass, Voltage and Evil B come together for 'Odyssey' which sees ambient soundscapes
and earnest lyrics on a truly heartfelt piece of music.

With releases on foundational imprints such as Metalheadz, 31 Recordings, RAM, Souped Up and Spearhead to name a few, Voltage's discography speaks for itself in laying down his years’ worth of experience within drum & bass. With support for his productions coming from a wide range of influential selectors including the likes of Andy C, Hype, Friction, Goldie, Bailey, Hazard and Bryan Gee, it's safe to say that 10 years of Voltage has been a remarkable decade to say the least. Here's to 10 more…

For release number 045, Luv Shack Records brings together two long time contributors Jakobin and ROTCIV for a split EP thats brimming with references to early 90s electronica.

Jakobin lays the foundation with the bubbly, trance infused „Drawan“, follows up with the spooky, upbeat electro of „Skulpt“, and finishes off with „Octagonial Tribe“, a track that oscillates between laid back melodies and squelchy acid sequences.

On the flip-side, ROTCIV showcases his signature style of industrial new beat madness: „Frenesy“ marries breakbeats with syncopated synthesizer sequences, „No More Room in Hell“ sound like a late 80s Italo Disco instrumental on steroids, while „The Confidence“ opts for broken beats and ethereal FM-flutes. As a digital bonus, ROTCIV gifts us with a heavy hitting, acid infused track by the name of „Living Art“.

Dieser Tage erscheint das Ted Kessler Buch "To Ease My Troubled Mind: Die autorisierte unautorisierte Geschichte von Billy Childish". Als die Idee für das Buch die Idee für das Buch aufkam, wollte Billy ein prägnantes Doppelalbum zusammenstellen, das die 47 Jahre seines musikalischen Schaffens zusammenfasst. Dies ist das Ergebnis. Mein Name ist William Ivy Loveday, alias Steve Hamper, alias Guy Hamper, alias Jack Ketch, alias Billy Childish. Ich wurde in Medway, Kent, geboren, wo ich immer noch lebe. Ich verließ die Schule 1976, als ich 16 war. Da ich keinen Schulabschluss hatte, wurde ich von der Kunstschule abgelehnt und ging in der Werft von Chatham als Steinmetzlehrling arbeiten. Später schaffte ich es, aufgrund meiner Bilder in einen Malkurs an der St. Martin's School of Art aufgenommen zu werden. Ich, Bruce, Big Russ und Little Russ gründeten 1977 The Pop Rivets und machten unsere ersten Aufnahmen. Unsere Inspiration war Punkrock, TV21 und The Swinging Blue Jeans. Ich lernte Gitarre zu spielen und arbeitete 1979 vier Wochen lang im Oakwood Mental Hospital als Pförtner, dann gründeten ich, Mick und Bertie The Milkshakes. Unsere Inspirationen waren Link Wray, die Beatles-Live-at-the-Star-Club-LP, der Song "Gotta Get the First Plane Home" von den Kinks und unser Hass auf die New Romantics-Szene. Dann wurde ich von der St. Martin's School of Art verwiesen, weil ich etwas geschrieben hatte, das als "die schlimmste Art von Toilettenwand-Humor" bezeichnet wurde. Ich verprügelte meinen Vater, als er aus dem Gefängnis kam, wo er wegen Drogenschmuggels gesessen hatte. Wir haben uns bei The Milkshakes nie selbst bezahlt und das ganze Geld in die Herstellung unserer eigenen Platten gesteckt. Ich bewahrte das Geld auf einem Bankkonto unter dem Namen Kurt Schwitters auf. Ich lebte 12 Jahre lang von der Sozialhilfe. Im Jahr 1985 gründeten wir Thee Mighty Caesars. Unsere Inspiration waren Bo Diddley und The Troggs. Ich wurde Mitglied von Greenpeace. 1989 gründeten Bruce und ich Thee Headcoats. Unsere Inspiration waren Son House und Downliners Sect. 1999 gründeten ich, Wolf und Johnny Barker The Buff Medways. Unsere Inspiration war Jimi Hendrix in Beatle-Stiefeln und The Who, bevor Roger Daltry anfing, die Vorhänge seiner Oma zu tragen. Etwa 2008 gründeten Julie und ich The Musicians of the British Empire. Daraus wurde dann CTMF. Daraus wurden dann die Chatham Singers. Unsere Inspiration basierte auf uns selbst. Als Nächstes war es an der Zeit, dass Neil und ich die Spartan Dreggs gründeten, inspiriert von Homer und A. E. Housman. Andere Gruppen entstanden und zerfielen - damit niemand wusste, wer wir waren oder warum. Im Jahr 2019 entstand The William Loveday Intention - inspiriert von Hollis Brown und den Mississippi Sheiks. Das Guy Hamper Trio tauchte noch einmal auf, zusammen mit Jamie an der Hammond. Einige dieser Gruppen sind geblieben, viele haben sich zu fernen Ufern mit scharfen, versteckten Felsen aufgemacht. Hauptsächlich male ich und schreibe Gedichte und Romane. Zusammen mit der Musik, die ich spiele, ist nichts, was ich tue, jemals besonders modisch gewesen, aber genau darum geht es auch. Schon 1977 haben wir gerne Nein gesagt. Dann, als der Punk sich in New Romantic verwandelte, fielen wir in den frühen Rock 'n' Roll und den Blues zurück. Bei The Milkshakes sagte man uns, dass wir zu viele LPs veröffentlichten und damit kommerziellen Selbstmord begingen, also brachten wir an einem Tag vier verschiedene LPs heraus. Ab und zu kommt jemand Berühmtes vorbei und ein kleiner Krümel rollt über den Tisch und spritzt in unsere lauwarme Suppe. Ein anderes Mal eifern uns Unbekannte nach und erweisen sich nur als besser. Ich liebe Pop, aber keine Popstars. Ich interessiere mich nur für Klang und Farbe und das in einem kleinen Maßstab zu sein. Ich verstecke mich nicht hinter Lautstärke und Off-Stage-Mixing. Ich brauche keine Show zu spielen, weil ich lieber daheimsitze und eine Tasse Tee trinke. Meine Arbeit gehört nach unten, zum Instinkt und zum Elementaren, und ist nahe am Boden. Ich glaube an selbstgemachte Musik, selbstgemachte Kunst und selbstgemachtes Kochen. Die Musik war über die Jahre hinweg ein lohnendes Hobby. Ich habe viele gute Freunde getroffen und mit ihnen gearbeitet, und Gott hat mich vor dem Ruhm bewahrt. Ich möchte die Straßenbahn und das Pferd zurückbringen.

BOBBY ROBINSON was more than a fixture in hisNew York community, he had been an essential part of its lifeblood for over 60 years. Had he just been the proprietor of the first record store (and reputedly the first black-owned business) on 125th Street, he would have been important enough, but he also had an ear for talent, recording landmark music across four decades, always at home with the music of his neighbourhood, be it doo-wop, R&B, soul or even rap.

He was an entrepreneur involved in over a dozen different labels, sometimes on his own, sometimes with a partner, often with his brother Danny, and he was behind records that became internationally famous by Gladys Knight, King Curtis, Elmore James, Lee Dorsey, Wilbert Harrison and Grandmaster Flash. He made many more that were simply good, and this compilation takes aim at the great work he did as a soul and R&B producer during the 1960s and early 70s. It’s an introduction that shows the quality that he created had depth beyond the headline names.

Lossapardo's new album "If I Were To Paint It" releases on May 17th. Known for blending art and music, Lossapardo has caught the eye of big names like The New York Times Magazine or Netflix and building a strong artist community around him (FKJ, Luidji, Bas, Joseph Solomon, Montell Fish, Olivia Dean…).

His music, filled with feelings of wonder and a bit of sadness, tells stories that connect with people everywhere. From painting to composing music, every piece of his work is a journey into emotions. His album invites listeners into a world where every note and color creates a vivid picture of life's ups and downs. Lossapardo crafts experiences that speak to the soul, promising an album that continues to share his unique vision with the world.

The 12-track project delivers more of the signature no-gimmick, undeniably Country sound fans have come to know, love and obsess over from the star and includes his current Top 20-and-climbing single with his former tourmate on “Different ‘Round Here (featuring Luke Combs).” The music and lyrics, both heavily influenced by blue-collar roots, small town life and slower way of life, exemplify Green’s homage to his experiences, beliefs, passions and love of family. The title bares its name from a poignant track on the album, “My Last Rodeo,” which Green wrote solo following one of the final conversations he had with his late Grandaddy Buford Green near the end of his life. Buford was the brains behind converting Riley’s great-grandparents' home into the Golden Saw Music Hall and is credited for Riley’s musical appreciation, education and inspiration, while his Granddaddy Lyndon can be attributed for Riley’s love of the outdoors.

Rain/Water is the fourth album by Tokyo's Kariu Kenji. Following 2021's Sekai, also on Bruit Direct Disques, rain/water is a gorgeous haze of song, a modern driftwork that's creatively rich, and full of fleeting sensation. These twelve lush pop songs point in multiple directions, outwards to bossa nova, modern R&B and soul, ambient bliss-outs, city pop confections, and electronica. But rain/water also has a sly experimentalism at its core, the kind of experimentation that doesn't need to call attention to itself, but that exists 'between the cracks' of the songs - in small, curious gestures of arrangement, in a sudden twist in melody, or an unexpected detour in a song's narrative. In this way, they share something of the stylistic free range in other great recent avant-pop moments - think, perhaps, of the music of Maher Shalal Hash Baz; Stereolab's more late-night, hermetic moments, or High Llamas' recent Hey Panda.

Mario Rusca is most probably the biggest living Italian jazzman. His major influences are Duke Ellingtons composing abilities and Hampton Hawes' brilliant sound. He immersed himself in the harmonic inventions of the incredible pianists of the 60s and 70s: from Bud Powell to Bobby Timmons, Wynton Kelly and Bill Evans. Mario Rusca has been the house pianist of Capolinea, the most important Italian jazz club of the 70s and 80s. He went on to perform in important national and international settings-representing Italy in the "Piano Solo'' category of the "International Festival of Varsavia" and participating with his quintet at the "International Festival of Montreal". He has collaborated with a multitude of prestigious names: Chet Baker, Tony Scott, Curtis Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Bob Berg, Lee Konitz, Dusko Gojkovic, Al Gray, Kay Winding, as well as Stefano Bagnoli, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Jimmy Owens, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy, Steve Grossman, Franco Ambrosetti, Woody Shaw, and Eddie "Lockjaw" Davis. With Gerry Mulligan, in particular, he toured in 1976 and with Lee Konitz, he recorded Wheres The Blues? at the end of the 90s. In this regard, Suspension in 1975 with Tullio De Piscopo and Recreations in 1976 with the phenomenal Larry Nocella playing saxophone are still very beautiful and modern recordings. As Mario says, "In jazz, you choose the companions that you can dialogue the most with.there needs to be an interplay, there needs a...a way of feeling, which is why you choose musicians because they feel like you, or, if nothing else, they follow you". The chemistry between the three of them is perfectly aligned, synergistic. Tonys drums and Riccardos bass create a soft and essential rhythmic tapestry that never hinder the creative prowess of the band leader. Here Mario Rusca is interpreting the most dynamic jazz standards. Blues for Gwen by McCoy Tyner, Blues Walk by Lou Donaldson, Blue Minor by Sonny Clark, Turnaround by Ornette Coleman, Bass Blues by John Coltrane or even Super Jet by Tadd Dameron. You cant help but imagine yourself on top of a convertible, smiling and carefree, while they travel through the soloist progressions of Turnaround and Super Jet. We need to underline the four originals included in this recording: Blue Dream (for Allerim), Tempo Blues, Double Horn e Monochrome Blues, extremely suggestive compositions, rich of intuitions and which well exhibit Mario Rusca composition skills and his ability to play the blues. MONOCHROME BLUES is a winning trio album which will deeply please the most demanding jazz hears. The musicians Mario Rusca (piano) Riccardo Fioravanti (bass) Tony Arco (drums)

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl and CD for the first time.



Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.



This double vinyl release comes pressed on two white and dark purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

Komponist Daniel Pemberton kehrt für das nächste Kapitel der Oscar-prämierten Spider-Man-Saga zurück: Across the Spider-Verse. Für die Fortsetzung hat Pemberton seine ursprüngliche Klangwelt erweitert, um neue Geschichten im Multiversum zu erzählen, und dabei alles von opernhaftem Tenorgesang und einem 100-köpfigen Orchester bis hin zu indischer Perkussion, Punkrock, Techno-Drums, vielschichtiger Elektronik, verstimmten Celli, zeitgedehnten Beats und mehr eingebaut. 34 Tracks begleiten die Zuschauer:innen, Miles Morales und seine Gefährten und repräsentieren das facettenreiche Repertoire des Spider-Man Universums.

DJ Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music)

Cut from material recorded in April 2021 at Fish Factory studios in London, the album’s title Abbreviations nods to the editing and post-production processes that trimmed the original recordings into seven succinct and intricate tracks. Making space for collaborators Ernesto Marichales (percussion), Miryam Solomon (vocals) and Valeria Pozzo (Violin, viola), it builds on the critically-acclaimed success of Sound & Reason (supported by Gilles Peterson and Mary Anne Hobbs) to bring out different shades of the group’s shape-shifting sound.

‘Elevator Company’ condenses twenty-minutes of jamming around Tal Janes’ hypnotic guitar line into a low-lit lounge groove that subverts the tropes of elevator music associated with some forms of easy listening jazz. Featuring Solomon’s wordless vocals, the piece blurs the lines between ambient and improvised music, creating a warm and intimate atmosphere reminiscent of classic RnB recordings.

On a different tip, ‘The Spin’ is a trance-like freak-out drawing on the final reserves of energy at the tail end of two days of solid recording. Reflecting guitarist Janes’ idea that "music really starts happening after a while, once you feel like you have nothing left to offer," the hypnotic rhythm section sets the tone for an fraught and frazzled guitar solo that seems to dissolve the very edges of time and space in the process.

An album that speaks to Qwalia’s endless capacity for self-renewal and uninhibited expression, Abbreviations takes its cue from the group’s name to communicate something ineffable about the nature of music, rhythm and sound that must be experienced to be truly understood.