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The Sound Of Soulfuric Vol. 2 continues the label’s reputation for vocal-led, groove-driven house music, bringing together strong vocals, solid songwriting and modern club-ready production across four DJ-focused cuts.

This is a release designed for dancefloor use. Whether it’s a vocal room, a terrace set or a packed house floor, every track is built to maintain momentum and keep the room moving.

Featuring voices from Donna Allen, Pearl Mae, Bobby Pruitt and J. Soul, this EP blends classic soulful house roots with current, punchy remixes, making it highly playable in today’s sets while still appealing to long-time Soulfuric fans.

Following his critically acclaimed debut "Dentsu2060" released via Lorenzo Senni's Presto!?, Tasho Ishi's second full-length album "Tasho Ishi lI" is now available on his own label T's.

tI features the new-wave Parapara anthem "Collapse Roppongihills" which became a staple at Narita Airport raves. celebrity trap rave track "DreamDrakeDrain" reminiscent of jam session between Drake and David Chronenberg. the junk entertainment track "Hellnwein" depicting modern pop utopia and its violent underbelly.

The Japanese-style Eurodance meets Philip Glass "The Bachelor" inspired by reality TV. These anthems are contemporary, pop, and carry Tasho Ishi's unique critical edge.

The second album, 'Tasho Ishi Il', is both a musical translation of Japan's diverse techno-animism and a sequel to the previous work "Dentsu2060" Techno-animism: Para Para, anime voice actors, reality TV, epics, advertising, and raves. Each track stands alone yet forms part of a larger, chronologically unfolding narrative.

While all tracks are animated by Japan-specific sound imagery, this is a pop album rather than avant-garde or abstract. In essence, it's a series of songs generated by rave trans-layers, serving as both reportage and documentation tracing Tasho Ishi's visionary city and its phenomena.

20-jähriges Jubiläum: Erweiterte und remasterte Vinyl-Neuauflage des epochalen Debüts von Band of Horses, dem Indie-Rock-Klassiker "Everything All The Time" aus dem Jahr 2006. Diese erweiterte Ausgabe kommt im Klappcover und einer Bonus-LP mit seltenem und unveröffentlichtem Material, alles frisch gemastert von JJ Golden und gepresst auf opakem gelbem Vinyl. Musikalische Transzendenz zu erreichen, ist echt schwierig. Wenn es klappt - ein großes ,wenn" -, dann passiert das ganz natürlich, und vielleicht weiß das niemand besser als Band of Horses, deren bahnbrechendes Debütalbum ,Everything All The Time" auch nach zwanzig Jahren noch genauso lebendig und, wenn man so sagen darf, transzendent wirkt wie bei seiner Veröffentlichung im Jahr 2006. Gitarrist und Sänger Ben Bridwell gründete Band of Horses 2004 in Seattle, nachdem er fast zehn Jahre lang bei Carissa's Wierd, den melancholischen Lieblingen des Nordwestens, gespielt hatte. Carissa's Wierd machten wunderschönen orchestralen Pop, dessen Songs unerschrockene Geschichten von Herzschmerz und Verlust erzählten, gewürzt mit defätistischem Humor. Band of Horses entstand aus den Überresten dieser beliebten Band, getragen von Bridwells warmer, halliger Stimme und seinen holzigen, verträumten Songs, die vor Spannung, Sehnsucht und Hoffnung nur so strotzen. Mit einem neuen Vertrag bei Sub Pop und einer Reihe großartiger Songs im Gepäck nahm die Band ihr Debütalbum "Everything All the Time" mit Produzent Phil Ek in den Avast Studios in Seattle auf. Mal rau und episch (,The Great Salt Lake"), mal zart und nachdenklich (,St. Augustine", ,Monsters") - "Everything All The Time" ist ein Album, das wunderschön von zerbrechlichen Höhen und Tiefen geprägt ist. Das ist Teil des Genies von Band of Horses: Sie schaffen intelligente, klassische Bewegungen innerhalb ihrer Songs und meistern dabei eine perfekte Balance zwischen Verzweiflung und Hoffnung, Ruhe und Manie, Liebe und Angst. Und natürlich gibt es da noch die massive Single ,The Funeral", die zu einem prägenden Song dieser Ära wurde und weiterhin neue Generationen von Fans und Künstlern gleichermaßen inspiriert. Neben unzähligen Film- und TV-Platzierungen wurde der Song von Kid Cudi gesampelt und vom renommierten Produzenten und Multi-Instrumentalisten Gryffin in einen 2025 Dance Edit verwandelt, der allein in kürzester Zeit 2,5 Millionen Streams ergattert hat. Anlässlich des 20-jährigen Jubiläums des Albums präsentieren Sub Pop und Band of Horses nun die definitive Momentaufnahme der Band zur Zeit von "Everything All The Time". Für diese Jubiläumsveröffentlichung wurde das Album komplett remastered, das Artwork überarbeitet und zu einer Gatefold-Hülle mit Liner Notes von Phil Ek erweitert. Begleitet wird das Album von einer zusätzlichen LP mit Bonustracks, darunter die Tour-EP von 2005, eine Fundgrube bisher unveröffentlichter Studio- und Live-Tracks sowie Raritäten wie ,The End's Not Near" (zu hören in The O.C.) und eine Demoversion von ,The Funeral".

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

In the past, DVTR has definitely been shaking up the Canadian punk scene, racking up dazzling reviews, best of 2023 lists, soldout shows and some bootlicking awards for their first ever EP "BONJOUR". Somewhere between the B-52s and fast DIY punk à la Jay Reatard, Demi Lune & Jean Divorce's troublemaking duo pours out its bile on often surprising, sometimes awkward, and always salvatory soundscapes. Its unpredictable stage antics break all language barriers, already taking the band on stages everywhere from Mexico to the UK. DVTR is French-speaking, female-fronted, short and not sweet at all: it repeats, it repeats, it repeats - that's the only way to get the message across. Vasectomy for all, ACAB, Rhum coke and MDMA, etcetera, etcetera. A simple fuck off to anyone who'd need a reminder before everything burns? As the legendary magazine CULT MTL recently said: "This is a live band doing what great live bands do, live: entertaining, f*cking with people's heads, having fun, and showing what they've got - crazy licks - without showing off."

I Made It All Up For You is the new record by Hugo Race Fatalists, their 6th studio album, set for release March 20, 2026 thru Gusstaff Records / Helixed on LP/CD and digital.
"In his 40-year career, Hugo Race has lived a thousand lives and played the role of songwriter, producer, musician, performer, head of a record label (Helixed). His music went from folk to lounge, from "trance industrial blues" to psychedelia, from world music to electronics. Starting from post-punk Melbourne in the 1980s, he took fascinating paths that led him from Africa to Turkey, from Berlin to Romagna…"
Hugo Race returns after highly successful collaborative albums with Michelangelo Russo (100 Years), The Church frontman Steve Kilbey (Speed of the Stars) and Gianni Maraccolo (The Vigil, winner of the prestigious Premio Ciampi) with I Made It All Up For You, an epic album with his Italian band Fatalists - existential songwriting framed by the band's signature fusion of roots music, electronica, Italian soundtracks and desert rock.
"I wanted to create something melodic and beautiful in defiance of our current reality. The songs started as bare acoustic sketches written in a remote mountain cabin in Italy where I had two weeks off during a solo tour. The weather turned into a raging blizzard, the days a struggle to keep the wood fire lit and the smoke out of the house. I wrote about twelve songs, threw them all away, started again with an unplugged electric guitar in front of that
damp fire, searching for the album's theme. When the smoke cleared, I was at the crossroads of a long term relationship unraveling under a blazing antipodean sun.
Fatalists recorded the basic tracks at the floating studio on the Puccini lake an hour out of Florence - Giovanni Ferrario (Scisma, PJ Harvey) on guitars and synth, Francesco Giampaoli (Brutture Moderne) on bass and Diego Sapignoli (Sacri Cuori) on percussion.
Violinist Massimiliano Gallo met me in Sicily for a short tour to learn the new songs, adding layers of his Calabrian magic to the mix. Jennifer Charles (singer of New York band Elysian Fields) and I had been talking for a long time about making new music and this was the occasion when we made it happen. Jennifer's distinctive voice graces this
album on the songs I Collide and Broken Love, the lyrics of which were written by author and designer Alannah Hill. My longtime road brother Michelangelo Russo also dusts the tracks with his otherworldly electric harmonica on Against The World, Born To Fly and Open Field. A lot of joy and pain and reflection went into the making of this album and I hope that comes across; this is about the darkness yes, but also the light. Everything changes and every ending is a new beginning but it's how we experience transformation that really matters. I hope you love this album. I made it all up for you."
Hugo Race, Naples, 2025

Consuming you in one swoop, through 10 tracks of poetic electronic-pop odyssey’s, Evadney’s sensational voice acts as the guiding force, weaving between piano, strings, harp, driving electronic elements, and almost beatless moody textures.

Following the release of 3 eps on Black Acre, being remixed by I.JORDAN, inclusion on Jamz Supernova’s BBCRadio ‘Ones To Watch’ list, the Glastonbury Emerging talent list and creating an audiovisual live show performed in the UK and Shanghai, Evadney’s debut album ‘It’s Dreaming’ looks set to solidify him as a bold new voice on the UK music scene, bringing with him a new world of melancholy, narrative-driven pop.

The subjects of sexuality, love, family and a yearning for the divine are played out across this cinematic piece of work. “I’m asking myself and everyone to consider; Where is your love? What does it mean for you? What are your boundaries around it and why?” - Evadney.  On ‘Plie’ Evadney’s vivid storytelling flows effortlessly in a surreal conversation with an angel who teaches him how to dance. ‘Qualia’’ is a harp laden ode to his parents and their enslaved ancestors, whilst ‘Leathered & Laced’ and ‘Good Lord’ are devastatingly beautiful and honest stories of Evadney pulling himself out of his darkest moments of lost direction and substance abuse.

When High Tone Live dropped on Jarring Effects, it wasn't just another live album - it was a statement. Captured in the spring of 2003, the Lyon-based collective condensed years of experimentation into an 11-track journey that redefines what live dub can be. Since their formation in 1997, High Tone have stood at the crossroads of dub, electronic music, rock, and urban culture. With Jarring Effects as their home base, they built a reputation for transforming the stage into a laboratory - a place where basslines mutate, beats deconstruct, and every frequency breathes. High Tone Live draws from four key releases - Low Tone, Opus Incertum, Bass Température and ADN - Acid Dub Nucleik - revisiting them through the raw energy of the stage. Classics like "Dehli Katmandou" and "Enter the Dragon" are stretched, twisted, and reborn in extended, improvisational forms. Two unreleased tracks, "112 Dub" and "Onew Dub," complete the set, adding a dose of fresh material to a disc that feels both retrospective and forward-looking. As with any live recording, there are rough edges: the mix shifts, some moments feel caught mid-explosion. But that's the beauty of High Tone Live. The imperfections add warmth, immediacy - a reminder that this music is made by humans pushing machines to their limits. High Tone Live stands as one of the strongest documents of Europe's post-dub explosion. It's a record that bridges continents and genres - a sonic travelogue where analog grit meets digital hypnosis. More than a live set, it's a manifesto of independence and sound exploration, stamped with the unmistakable seal of Jarring Effects.

more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice"s own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze"s skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice"s dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs.

more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice"s own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze"s skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice"s dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs.

Mit ITS MANY FACES legen DERRY ihr lange erwartetes Debütalbum vor und machen unmissverständlich klar, warum sie längst fest zur deutschen Horror-Punk-Szene gehören. Nach der EP REMEMBER THE CURFEW, erscheint auch das Album auf Fett Fleck Records und bündelt all das, wofür die Marburger Band steht: düstere Stories, treibender Punkrock und eine kompromisslose Liebe zum Horror. Horrorpunk, Skate Punk und melodischem Punk Rock mit klarem 90s-Vibe - DERRY schaffen den Spagat zwischen roher Direktheit und eingängigen Hooks, zwischen dunkler Atmosphäre und maximalem Vorwärtsdrang. Schnörkellos, druckvoll und hochgradig eingängig - ein Sound, der gleichermaßen im Club, auf dem Weg zur Arbeit und im Festival-Moshpit funktioniert. ITS MANY FACES ist mehr als nur eine Sammlung von Songs - es ist ein geschlossenes Werk, ein Liebesbrief an den Horror, an Punkrock und an Stephen King: inhaltlich ist es nämlich ein konsequentes Konzeptalbum, das sich ausschließlich Stephen Kings ES bzw. IT widmet, der Roman bildet die Grundlage der Recherchen, Texte und Motive. Die bereits veröffentlichten Singles Laurie Ann, Deadlights, Afraid of Spiders sowie die finale Vorab-Single 29 Neibolt St. beleuchten dabei unterschiedliche Facetten derselben Geschichte - und fügen sich zu einem geschlossenen, düsteren Gesamtbild zusammen. Und bitte auch das famose Coverartwork beachten. Sehr gelungene, runde Sache das. Auf farbigem Vinyl oder als Digipak-CD zu haben.

Mit ITS MANY FACES legen DERRY ihr lange erwartetes Debütalbum vor und machen unmissverständlich klar, warum sie längst fest zur deutschen Horror-Punk-Szene gehören. Nach der EP REMEMBER THE CURFEW, erscheint auch das Album auf Fett Fleck Records und bündelt all das, wofür die Marburger Band steht: düstere Stories, treibender Punkrock und eine kompromisslose Liebe zum Horror. Horrorpunk, Skate Punk und melodischem Punk Rock mit klarem 90s-Vibe - DERRY schaffen den Spagat zwischen roher Direktheit und eingängigen Hooks, zwischen dunkler Atmosphäre und maximalem Vorwärtsdrang. Schnörkellos, druckvoll und hochgradig eingängig - ein Sound, der gleichermaßen im Club, auf dem Weg zur Arbeit und im Festival-Moshpit funktioniert. ITS MANY FACES ist mehr als nur eine Sammlung von Songs - es ist ein geschlossenes Werk, ein Liebesbrief an den Horror, an Punkrock und an Stephen King: inhaltlich ist es nämlich ein konsequentes Konzeptalbum, das sich ausschließlich Stephen Kings ES bzw. IT widmet, der Roman bildet die Grundlage der Recherchen, Texte und Motive. Die bereits veröffentlichten Singles Laurie Ann, Deadlights, Afraid of Spiders sowie die finale Vorab-Single 29 Neibolt St. beleuchten dabei unterschiedliche Facetten derselben Geschichte - und fügen sich zu einem geschlossenen, düsteren Gesamtbild zusammen. Und bitte auch das famose Coverartwork beachten. Sehr gelungene, runde Sache das. Auf farbigem Vinyl oder als Digipak-CD zu haben.

Dorian Concept returns with "Miniatures," a collection of his renowned one-take synthesizer recordings that he’s been known for sharing online since the mid-2000s. “This release was right under my nose” he says. Over the past two decades, Dorian Concept has uploaded videos of himself "fooling around" on various synthesizers and keyboards – long before the rise of short-form content. These signature one- to two-minute performances have sparked countless covers, remixes and reinterpretations by musicians and producers alike. Through this project, Dorian Concept aims to celebrate a long-standing bond with his instruments and honor it in the form of a photo album.

In his own words:

As a kid, every night before bed, I would sit in the same place and draw a comic. I rarely finished them, but I couldn’t go to sleep without having started one. These "Miniatures" and the preceding videos I’ve recorded come from the same place. They’re the expression of a ritual.
Around 2020, I created a compact setup using three devices – a mono synthesizer, an analogue reverb and a looper –which I separated from the rest of the studio. Every day, before I started working, I would improvise on this small setup and at the end of every month, I would record a video and share it with the world. These songs were made in front of you, in a Truman-Show like fashion.
Now they feel like diary-entries that capture the timeline of a deepening relationship, the harvest of limitation and repetition, and the beauty of simplicity.

The cover art is a drawing by the esteemed Austrian artist Leopold Strobl (courtesy of Gallery Gugging), who is known for his distinctive small-format work. The closing track, “An Unopened Letter,” features the genre-defying guitarist and producer Bibio.

Baptized with a name derived from astrophysical theories about dark matter and black holes, THE HOLEUM was formed in 2014 in Alicante, Spain. Founded by former members of NahemaH, Demised, quantumXperience, Hela, Neptunian Sun, and Priest of Dawn, the quintet set out to push the boundaries of heavy music and to intensify the emotional impact of darkness in sound. Their concept is both cosmic and sonic: “THE HOLEUM is related to the dark matter that forms the black holes in the universe. THE HOLEUM is not a black hole, but black holes are formed by The Holeum. That is the idea from which we extract our concept – we are a sonic and cosmic vision of the sublime.” With their third album “Ensis” (2025), the band continues its journey through experimental metal, death doom, melodic metal, and post-metal. This work is more than a continuation – it is a condensation and expansion of their previous soundscape. “Ensis” reveals itself as finely nuanced, challenging, yet at the same time profoundly sensitive and multifaceted. The songs unfold like cosmic landscapes where heaviness and melancholy meet subtle emotionality. The intensity remains palpable, but it is complemented by a deeper sensitivity that draws the listener into a fragile balance between harshness and delicacy. “Ensis” is an album that demands and touches at once – a work that makes the complexity of human existence audible in the mirror of the universe.

Die Legendary Edition ist eine Neuauflage des Debütalbums von Aerosmith. Diese neu abgemischte und
remasterte Ausgabe enthält zeitlose Klassiker wie „Mama Kin“, „Movin’ Out“, „Make It“ sowie die unvergessliche Hymne „Dream On“.

The breakthrough album. Enrico Rava's second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock - the record that caught Manfred Eicher's attention and opened the doors to ECM. Rava himself has called it his breakthrough, and history proved him right.

The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy - electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White's drumming is relentless, pushing the music forward with an intensity that never lets up.

If Miles' Bitches Brew-era speaks to you, if Ian Carr's Nucleus gets you moving, if you know Sun Ra's Lanquidity and Don Cherry's Relativity Suite by heart - this is essential listening. Rava's vision was already fully formed: South American rhythms, Mediterranean warmth, free jazz ferocity, rock power - all flowing together without borders or categories. By the early seventies, Rava had absorbed everything - the New Thing, the European free scene, the electric revolution coming out of Miles' studio - and forged something entirely his own.

The seven tracks cover serious ground. "Bunny's Pie" introduces the music with an almost cosmic atmosphere of suspense, hovering in that liminal space before it trails off into the up-tempo vibrant frenzy of "Trial N. 5" - Abercrombie and Rava trading swirling solos at full intensity, the rhythm section locked in tight. "Dimenticare Stanca" moves from Rava's expressive balladic intro into pure funk, guitar and trumpet steering over the rhythmic drive with absolute confidence. The title track carries the lyrical feel and cadence of an Incan-Peruvian folksong - that cosmopolitan spirit made audible. "Fluid Connection" rides a funky bass riff into fusion heaven, with standout trumpet and guitar solos that build and release with perfect tension. "Cheerin' Cherry" pays homage to the great Don Cherry - Rava's spiritual mentor and fellow traveler in world music - exploring a North African soundscape that points toward the global jazz to come. Johnson's "Peace" closes the album with a minute and a half of serene, blissful calm - a moment of stillness after the storm.

This audiophile reissue - cut from the original masters, pressed by Pallas in Germany on 180gm vinyl, housed in a thick laminated hand-glued gatefold - does full justice to an album that remains a collector's holy grail.

Don't sleep on this one. Limited Edition.

On his second album for Bruk, hoyah חיה continues to take an unflinching look at his Jewish identity while confronted with the heinous actions of the Israeli state. Echoing the name of his Refuge Worldwide radio show, he examines the shared histories of the Jewish diaspora across the Middle East and North Africa — from Morocco to Uzbekistan and everywhere in between. Can I Get A Chayah? is an honest attempt to explore what Judaism could become at a time when the culture faces an existential crisis.

The sonic approach hoyah חיה takes on Can I Get A Chayah? is central to the album's theme, as hard-gated processing on every sound creates a disorienting effect aiming for a kind of 'functional transcendentalism'. From the opening strains of preceding single '808s n Trance Gates' the jagged stop-start intensity of the samples sets a head-spinning tone for the album. The source material comes from across the aforementioned Jewish diaspora, challenging the nationalist idea of the single Jewish state.

Balancing beauty and aggression, hoyah חיה also reaches to a strong cast of collaborators to round out his cultural explorations. Principle among these is the late David German, the US-born guitarist and songwriter behind Silver Jews, whose repeated, bewildered mantras on 'Shalom Aleichem' embody hoyah חיה's own struggles with faith in the face of current horrors. Internationally celebrated Turkish-descent German musician Derya Yıldırım graces 'Talmuds' with her haunting vocal — a tribute to ancient Jewish mysticism that gets passed through the album's unrelenting sonic framework. On 'The Lock' Muha tackles African transcendentalism, while Rael pulls no punches with the questions he poses on the barbed 'This Song Has A Different Title But It Can't Be Published Here Because Of "Reasons"'.

With further prayer recitals on 'Lekha Dodi' and 'The Nose' and videos examining the psychedelic nature of reading the talmud and repetitive prayer movement shuckling, hoyah חיה has taken his research deep into the spirituality of his heritage at a time of crisis for Jewish identity. Naturally, Can I Get A Chayah? is not an easy listening experience, but neither is it a bleak one. There is beauty, mystery, complexity and nuance woven within the stark approach — an intentional, considered statement on a culture much deeper and wider than the barbaric acts of an unrepresentative group of twisted ethno-nationalists.