Buscar:one coast

On and on, the beat goes on. Sound System culture plays a huge part in the history of House music, shaping Mysticisms, its founders and the music it brings into the spotlight. Continuing the dive into that history, in all its forms and permutations, Tranquil Elephantizer’s 1995 classic Zombie Dawn is reissued here in its original form.

A name that has been getting noticed on recent releases for the likes of legendary San Francisco collective Wicked Records and Manchester’s cult Red Laser label, the project has, in fact, been around for several decades.

Morphing out of the late 80s Acid House revolution, members Alexis Worrall, brothers Caspar and Darius Kedros and focal point, David Jenkins aka DJ Shakra came together in the South London melting pot of free parties and DIY anything is possible ethos.

Born of a collaboration between the short-lived Camberwell Butterflies project – featuring Alexis Worrall and DJ Shakra amongst others – and the Kedros’ bothers downtempo/trip hop forbears Slowly. With a shared label, on the ground-breaking Chill Out Records, and Thursday late-night encounters at London’s legendary Megatripolis club, they decided to pool studio resources and Tranquil Elephantizer was born.

Mixing lo-fi 808 heavy analog jams of the Butterflies, with the studio sophistication from the Slowly crew, sparked something new and Zombie Dawn was the first result. Local producer Crispin J Glover dropped by the studio, riding high with his Caucasian Boy project’s hypnotic Northern Lights (featuring DJ Shakra on Roland 303) – recently out on Strictly Rhythm – he offered to remix both Zombie Dawn and the Slowly album cut No Slo Dub for release on his own Matrix label and an underground hit on the London and West Coast 90s party scene was born.

Coming in the original “Saxmental Mix”, alongside Glover’s storming “Nu Dawn Club Mix” Zombie Dawn was a correlation of the past, present and future in one record. The history of British House can be heard in the bumpin’ nature of the beats, the sharp hats encompassed around dub overtones that give it added warmth. The slightly quirky, left field touches of the tracks, set against the then weekly overload of sharp US imports, brought the mix of influences from the Tonka and Sugarlump Sound Systems they had partied and been involved with, on to vinyl, adding touches of jazz keys and disco’s heritage for good measure.

A bedfellow for the emerging UK House sound coming on the likes of Luxury Service (Rob Mello / Zaki Dee), Other (A Man Called Adam / DJ D) and Nuphonic (Faze Action / Idjut Boys), that shaped and defined London clubs and far beyond. Some 30 years later, with a new album on the way, here is debut Tranquil Elephantizer’s release, remastered especially for this reissue, ready to bring that optimistic thinking back.

Tranquil the Mystery.

‘Moonlight Concessions’ goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp sketches and their suitably abrasive musical arrangements. The album follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal imagery. Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver Short Cuts, overheard conversations, recounted happenings and telling one-liners, all sewed together to illustrate the times as they slowly mature, fully peppered with original Muses’ vim and vigour. ‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred sub-conscious. ‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us. The album opener, it’s a haunting baroque overture, bowed and brooding. ‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver filed with warmth in a safe haven lubricated by tequila. Written in the differing South Coast environs of The Gulf Of Mexico and Southern California, ‘Moonlight Concessions’ pulls from the star clusters that light both, generating optimism and hope in varying degrees. Hersh explains, “In New Orleans the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”

First time reissue of this mega rare album by Angel Vásquez, versatile Colombian accordion master of Antillean shades, that comprises a muscular, rhythm-packed ride moving from pachanga to paseaito, passing through charanga, porro, son and cumbia. Here, direct lines are drawn between Colombian coastal folklore and Afro-Antillean sound. A must-have release! Angel Vásquez brought Antillean shades into the accordion tradition of a region overflowing with juglares, as the Colombian northern coast has always been. Vásquez built a monumental songbook where pachanga, charanga, son, cumbia, and even the Puerto Rican countryside, Boricua sound, played leading roles. His few recordings carried a remarkable stylistic range, making it difficult to put him into any single category-a quality that led to a style he himself called vasquesón. In the early seventies, he released through Discos Fuentes a single that would become one of the anthems of the Barranquilla Carnival: 'Pica pica en carnaval', a tropical, electrifying gem with a guarachero flow so unmistakable that it's still a staple in verbenas, neighborhood dances, and picó parties today.

DJ Tennis expands the universe of his recent single ‘Playa Paradiso’ featuring vocals by multifaceted British artist Eliza with a deep-diving Club Mix, retooling “Playa Paradiso” into a darker, longer-burning version aimed squarely at the dance floor.
Stripping back the sun-kissed gloss of the original, the Club Mix leans into his precision production instincts; elongating the groove, tightening the rhythm, and letting the low-end shine. With the vocal weaving in and out like a guiding light through the haze, it’s a hypnotic take that trades coastal charm for heady club
elevation. A masterclass in tension and release, the Club Mix underscores DJ Tennis’s ability to balance emotional depth with dance floor functionality. The remix is a reframing of “Playa Paradiso” for the night shift: smoke-filled rooms, peak-time crescendos, and sunrise afterglows. Both versions capture different corners of the
same world, one that basks in the Balearic sun, and the other pulsing in the strobe.
Together, they mark a full-circle return for DJ Tennis’s first solo material in three years as an artist whose sonic world has always defied simple categorization.

The Meth Lab returns for its third instalment with “Meth Lab Season 3: The Rehab,” a sharp, hard-hitting chapter that cements Method Man’s place as one of hip-hop’s most consistent and enduring voices. Executive produced by longtime collaborator Handz On, this project finds the Wu-Tang legend in rare form—polished, precise, and laser-focused.

“The Rehab” pulls listeners back into the world Meth has been building since the first Meth Lab sessions: a mixtape-style showcase blending razor-sharp lyricism with streetwise storytelling, packed with energy and attitude. Method Man’s flow remains timeless, weaving between gritty boom-bap, polished modern production, and the unmistakable Wu-Tang aesthetic. A strong lineup of guests brings extra fire to the set—Cappadonna, RJ Payne, Redman, KRS-One, JoJo Pellegrino, Jadakiss, Carlton Fisk, Hanz On, Intell, Iron Mic, 5th Pxwer, Chunk Bizza, Eddie I, Cortez, and more—each stepping into Meth’s world with their own hard-edged energy. Behind the boards, producers like P. Version, Rockwilder, Eric Sermon, Adam McLeer, Daniel C. Wells, Darnell Norman McConnell, and Joshua D. Zimmerman craft a gritty yet refined sonic framework that elevates every performance.

More than just another chapter, Season 3: The Rehab feels like a victory lap: a culmination of decades of craft, a celebration of the Staten Island movement, and a reminder that Method Man still out-rhymes rappers half his age. It’s a must-own for Wu-Tang fans, East Coast purists, and anyone who appreciates sharp writing and decades-deep mastery.

The Coasters were, in the opinion of noted rock writer Dave
Marsh, ‘the funniest group in rock’n’roll history’, while author and
historian Arnold Shaw described their music as ‘ebullient,
energising, entertaining, expressive and danceable.’ High praise
indeed - and as this album confirms, well deserved. the
Coasters’ songs are more famous than the group themselves.
Their music will endure forever, a fact underlined by the
Broadway-staged musical revue Smokey Joe's Café that
received seven Tony nominations and won a Grammy Award.
The Coasters’ hits were a large part of the score.

Inspired by the soundtrack from the motion picture American Graffiti, this 3LP collection captures the sound of late night cruising, jukebox romance and early rock ’n’ roll rebellion. Spanning doo wop, rockabilly and classic pop, the set brings together era defining hits from the mid 1950s to early 1960s, featuring timeless favourites by Chuck Berry, The Beach Boys, Dion, Little Richard, Sam Cooke, The Platters and many more. Pressed across three vividly coloured vinyl records, red, blue and yellow, this set is both a nostalgic listening experience and a striking collector’s piece, celebrating the golden age of American rock and pop in authentic style.

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

Iconic hip-hop duo The High & Mighty, composed of rapper Mr. Eon and producer DJ Mighty Mi, make their long-awaited return with Sound of Market, their first studio album in over twenty years. The release marks a powerful comeback for one of underground hip-hop’s most celebrated duos — a project steeped in nostalgia, boom-bap grit, and the timeless energy of East Coast rap.

Named in honor of Sound of Market Street, the legendary Philadelphia record store that served as a hub for crate diggers, DJs, and hip-hop heads for decades, the album pays homage to the culture that shaped The High & Mighty’s sound and identity. Much like the store itself, the record celebrates deep cuts, rare finds, and the shared love of vinyl that connects generations of hip-hop fans.

Across 17 tracks, Sound of Market revives the duo’s trademark wit and sharp lyricism while showcasing an impressive lineup of collaborators, including Kool Keith, The Alchemist, Your Old Droog, Large Professor, O.C., Chubb Rock, King T, Skillz, and many more. The result is a cohesive, sample-driven experience that bridges the classic and contemporary — reaffirming The High & Mighty’s status as true architects of independent hip-hop.

From the opening anthem “Two Man Crew” and the surreal swagger of “Pinky Tuskadero” with Kool Keith, to the cinematic boom of “Mighty’s Big 5 (Live from The Palestra)”, the record moves effortlessly through sharp lyricism, layered production, and a shared reverence for the foundations of the genre. Sound of Market is both a return and a reminder — a record that feels timeless in its authenticity.

'Flowers', the new EP from Elizabeth Davis, finds itself at the cross-section of many factors. In part, it’s the result of Davis’ obsession with a seminal folk song. But it also coincides with her rediscovery of the voice and language as an instrument. It was recorded during an autumn residency at Sternhagen Gut, the cultural refuge run by Gudrun Gut and Thomas Fehlmann, located deep in the Uckermark countryside halfway between Berlin and the Baltic coast.

The six tracks on 'Flowers' all take Pete Seeger’s ‘60s protest-folk song 'Where Have All The Flowers Gone' as their starting point. However, they veer off in different directions, from vocal loops and deconstructed lyrics, to instrumental drones and glitchy, manipulated rhythm tracks. Like many musicians, Davis has learnt composition by a process of disassembly, analyzing musical works piece by piece, and 'Flowers' began as one such forensic exercise. “But sometimes,” says Davis, “a source is so loaded up on meaning that the studies and experiments can become worthwhile and meaningful works in their own right.” 'Flowers' began to take on a life of its own, raising renewed questions about age-old themes such as war, authorship, translation and historical structures.

Davis is no stranger to cover versions. From studying violin to playing in free jazz and punk bands, interpreting other artists’ works has long been a key part of her musical approach. And since her radio show 'Deep Puddle' recently drew to a close after seven years, her experiments with narration and sound collage have found their way into her musical work once again. For 'Flowers', she cut up the source material (with a nod to Gysin and Burroughs), and reassembled the lyrics, the musical notes, and recordings by different performers, to create uncanny new forms.

But perhaps the biggest influence on 'Flowers' was conversations about music, art and pop subcultures with Gut. These dialogues helped Davis find a balance between far-out sound design experiments and catchy melodies, combining a certain avant-garde element and modern day songcraft. And it’s this sense of conversation, this revisiting of topics and renewal of ideas, that will keep us coming back to 'Flowers' long into the future.

Group Rhoda returns to Dark Entries with Phase 5, a new LP of synthesizer-driven art-pop. An integral member of the West Coast electronic music scene, Mara Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. Barenbaum’s songcraft is at once stylistically diffuse and laser-focused, a synesthetic approach that allows her to effortlessly glide between genres and soundworlds while centering her singular poetics. On Phase 5, her fifth LP as Group Rhoda, we find Barenbaum waxing nondualistic. Lines between fairytale and fact, between nature and art, between subject and object all dissolve under contemplation.

The songs on Phase 5 are perpetually in-between states, deftly shifting form at the blink of an eye. With sleight of hand, “Field Tone” transmutes from brooding John Carpenter-esque electro into vocoder-driven space disco. “Dragon Pine” darts from cosmic dub to cybernetic dancehall and back again. The uptempo darkwave-leaning number “Aeolian Crossing” dissolves into the void, like sand falling through one’s fingers, like a retreating wave. The cover artwork for Phase 5 is by Shawn Reed, and features purple lilies and light refracted through water. All songs on this album were mastered by Ruud Lekx. The digital version of Phase 5 will be released via Katabatik, a label and sound system that Barenbaum has had close ties to for the past decade.

After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in our previous volumes, this fourth instalment in the series "Cumbia Cumbia Cumbia!!!" comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands. This new volume of "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double Vinylalbum

Formerly one third of the much-loved trio Black Box Recorder, alongside The Auteurs’ Luke Haines and Jesus and Mary Chain guitarist John Moore, the British singer-songwriter Sarah Nixey has steadily gained acclaim as a solo artist who makes savvy, sophisticated and poised pop.

Delivering vocals with a detached elegance over opulent tracks, any perceived nonchalance in Nixey’s luxe, cut glass voice belies her empathy, where social commentary serves as protest, both explicit and implied. Like Billy Bragg deepfaked as prime Julie Andrews, this strange but effective juxtaposition radiates soft power. ‘Lies of the Land’ depicts a corrupt post-Brexit and Covid-19 world where inequality and division flourish. ‘England's On Fire’ delves into the nuanced concepts of patriotism and nationalism, and ‘Pleasure Bay’ narrates the story of a love affair with a deprived yet beautiful English seaside town, written after Nixey left London, drawn back to the Dorset coast.
More than just a political record though, Nixey was drawn to the poetic elements of living too, telling stories of life and death, love and loss, conflicts and symmetry, in an intimate and close-up way, as if whispering secrets to her listeners.

“Sea Fever explores the bittersweet beauty of human life amid a volatile world of changing seasons and brutal elements,” says Nixey. “These are songs of deep sorrow, remembrance, birth, and change, set against a backdrop of the sensuous natural world.”
‘Rolling Waves’ explores profound grief following her beloved grandmother's death, while ‘Spring Equinox’ celebrates the joy and awe of life after welcoming her first grandchild. ‘At the Edge of the Forest’ is a poignant story of someone losing their memory, and ‘On This Wide Night’ recounts the early hours return home of a teenage runaway.

Repress!

Rhythm On The Loose “Break Of Dawn” is quite simply one of House Music’s all time classics.

Producer Geoff Hibbert was inspired by seeing dawn break on an Italian coast line to
draw inspiration from Moby’s anthemic “Go” and disco gem “Let No Man Put Asunder” by First Choice to create his loving homage to the UK Rave scene.

Network set up a label “The One After D” to release a limited edition press of the instant classic to create demand.

One of the first copies was picked up by Kevin Saunderson and his relentless playing of the track helped fuel interest in the USA.

The first release on Network in 1991 established the track as iconic. That original mix is here and still sounds as fresh as ever. Perfect in fact.

The 12” also contains remastered versions of the 1995 remixes by Rhythm On The Loose, Strike and Stonebridge.

Taken from Network’s extensive back catalogue and a re-issue of a timely classic that is always in-demand.

Ghetto Pop Life was Danger Mouse’s first full length album on Lex and a hip hop classic, harking back to the sound of the early 90s East Coast and resurrecting Brooklyn’s most soulful thug MC, Jemini The Gifted One. Incorporating a full church choir on the title track, Danger Mouse also brings in heavy hitting guest rappers J-Zone, Tha Alkaholiks, The Pharcyde and Prince Po. In the words of the NME "Ghetto Pop Life is a funk-fuelled hip hop record that virtually orders you to get down’. LEX010LPRT was originally an exclusive variant but now available to all.

Ghetto Pop Life was Danger Mouse’s first full length album on Lex and a hip hop classic, harking back to the sound of the early 90s East Coast and resurrecting Brooklyn’s most soulful thug MC, Jemini The Gifted One. Incorporating a full church choir on the title track, Danger Mouse also brings in heavy hitting guest rappers J-Zone, Tha Alkaholiks, The Pharcyde and Prince Po. In the words of the NME "Ghetto Pop Life is a funk-fuelled hip hop record that virtually orders you to get down’. LEX010LPRT was originally an exclusive variant but now available to all.

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.



Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.



Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

Iconic hip-hop duo The High & Mighty, composed of rapper Mr. Eon and producer DJ Mighty Mi, make their long-awaited return with Sound of Market, their first studio album in over twenty years. The release marks a powerful comeback for one of underground hip-hop’s most celebrated duos — a project steeped in nostalgia, boom-bap grit, and the timeless energy of East Coast rap.

Named in honor of Sound of Market Street, the legendary Philadelphia record store that served as a hub for crate diggers, DJs, and hip-hop heads for decades, the album pays homage to the culture that shaped The High & Mighty’s sound and identity. Much like the store itself, the record celebrates deep cuts, rare finds, and the shared love of vinyl that connects generations of hip-hop fans.

Across 17 tracks, Sound of Market revives the duo’s trademark wit and sharp lyricism while showcasing an impressive lineup of collaborators, including Kool Keith, The Alchemist, Your Old Droog, Large Professor, O.C., Chubb Rock, King T, Skillz, and many more. The result is a cohesive, sample-driven experience that bridges the classic and contemporary — reaffirming The High & Mighty’s status as true architects of independent hip-hop.

From the opening anthem “Two Man Crew” and the surreal swagger of “Pinky Tuskadero” with Kool Keith, to the cinematic boom of “Mighty’s Big 5 (Live from The Palestra)”, the record moves effortlessly through sharp lyricism, layered production, and a shared reverence for the foundations of the genre. Sound of Market is both a return and a reminder — a record that feels timeless in its authenticity.

After finding fame with the Hollies and Crosby, Stills, Nash & Young, expatriate Englishman turned West Coast rock icon Graham Nash made an auspicious solo debut on this 1971 disc. It's an exemplary singer-songwriter effort, striking a vital balance between graceful introspection and political fervor — and while it's deeply personal, it still carries the harmonies, heart and politics that made CSN(Y) so essential.

With assistance from the likes of David Crosby, Jerry Garcia, and Dave Mason, highlights include the sensitive internal explorations "I Used to Be a King" and "Man in the Mirror" and the impassioned protest anthems "Chicago" and "Military Madness."

If Déjà Vu was a wild canyon party with four competing egos, Songs for Beginners is Nash's introspective morning after — a mix of heartbreak, hope, and a little bit of righteous protest. He recorded it while reeling from his split with Joni Mitchell, and you can feel that melancholy seeping through the grooves.

But don't mistake this for a wallowing breakup album — it's also a call to action, packed with the kind of folk-rock anthems that made Nash an indispensable voice of his era. If you love CSN's folk-rock harmonies but also crave a more personal, raw touch, this is a must-listen.

This Analogue Productions (Atlantic Series) reissue of Pain in My Heart is a standout for your collection. First, we turned to Bernie Grundman to cut lacquers from the original master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.