Cerca:one time

October 18, 1987 was a very special day for the two brothers - and star
jazz musicians - Michael Brecker and Randy Brecker
For years both had conquered the stages of the world together with their band
The Brecker Brothers and earned the reputation of being among the world's
leading jazz musicians on their instruments, the saxophone and the trumpet. On
that evening in the legendary Hamburg factory, both were on stage together for
the first time, each with their own band. 'Live at Fabrik Hamburg 1987' features
the top- class ensemble: Randy Brecker (trumpet), Bob Berg (saxophone), David
Kikoski (piano), Joey Baron (drums) and for the first time at the beginning of his
career Dieter Ilg (bass).
The other recording that features: Michael Brecker (saxophone), Mike Stern
(guitar) Jeff Andrews (bass), Adam Nussbaum (drums) & Joey Calderazzo (keys)
is available on a separate LP2. You will find both concerts together on the 2CD
set.
Quite simply historic concerts at a historic venue.
Randy Brecker writes about it: "These concerts were many years ago, and we
both were on long Euro tours of one nighters, so I think we both tried to put on the
best show we could, to outdo the other (in a good way!) Amazing to me how at
that point in time we were on different paths, I'd had that band with Berg, Kikoski,
Ilg and Joey Baron, for a while, acoustic, more "straight ahead" as we say, while
Mike was on uncharted territory with a new band...this might have been their first
Euro tour so the competition was on, at one of our favourite places to play:
'Fabrik' in Hamburg!...So let the games begin!"

Over the course of his six-decade-long career, Dr. John embodied a near-mythic multitude of musical identities: global ambassador of New Orleans funk and jazz and R&B, visionary bluesman, rock and roll innovator, one-time top 10 hitmaker, self-anointed and massively revered high priest of psychedelic voodoo. On Things Happen That Way, the six-time Grammy-winning Rock & Roll Hall of Famer otherwise known as Malcolm John “Mac” Rebennack Jr. reveals yet another dimension of his cosmically vast musicality: a lifelong affinity for classic country & western, whose songs he first encountered via the 78 rpm records frequently spun at his father’s electronics shop. Things Happen That Way arrives as the latest and final studio album from an artist who remained wholly unpredictable, alchemizing the charmed simplicity of traditional country into a wildly enchanting body of work.



Things Happen That Way marks the fulfillment of a longtime goal of the legendary singer/songwriter/pianist, who first began plotting a country inspired album decades ago. In bringing his album’s songs to life, Dr. John drew on a lineup of musicians befitting of a universally beloved luminary who worked with the likes of Van Morrison, the Rolling Stones, B.B. King, Etta James, and artists as diverse as Aretha Franklin, Ringo Starr, and Eric Clapton. Along with an elite cadre of New Orleans session players, the album’s personnel include icons Willie Nelson and Aaron Neville, as well as label mate singer/songwriter Katie Pruitt and country-rock powerhouse Lukas Nelson & Promise Of The Real. True to an artist whose music “transcended race and cultural divides”—as Black Keys frontman Dan Auerbach proclaimed in presenting Dr. John his lifetime achievement award at the Americana Music Association Honors and Awards in 2013—Things Happen That Way reflects both a rich sense of history and a boundless passion for defying expectation.

Ask any of the great guitar pickers who have emerged over the last four
decades to name a primary influence and the response is likely to be
"Tony" or "Rice" or, to avoid confusion, "Tony Rice
" There can be no doubt that Tony Rice's footprint on the time- line of guitar
playing in bluegrass music is monumental.
"Guitar" was Tony Rice's first venture into recording and it still holds up as one of
the great bluegrass guitar records ever issued. The album came to Rebel in a
roundabout way. It was recorded in Lexington, Kentucky, first appeared on a
record label in Japan, made its way back to Kentucky for release on a regional
label that was later acquired by Rebel in the late 1970s. As Tony was working in
banjo-great J. D. Crowe's band at the time, it was quite natural for Crowe, Tony's
brother and mandolinist Larry Rice, and bassist Bobby Slone to provide the
instrumental backing. Recorded at a time when progressive sounds and styles
were treading on the traditional framework of bluegrass, "Guitar" was praised for
walking the fine line of spotlighting Tony's prowess on the instrument while
remaining very much a "band" recording.
With Tony in fine form vocally and his amazing guitar work on full display, this is
where you will find his signature versions of "Freeborn Man," "Doing My Time,"
"Nine Pound Hammer," and "John Hardy" – plus the closing track, a nine-minute
tour-de-force rendition of "Lonesome Reuben."

Criminal Heart is not just another album from another Singer-Songwriter
According to Beth Nielsen-Chapman, "This is what killer songwriting sounds like"
Legendary guitarist Robben Ford describes it as "Absolutely beautiful."And Chris
Difford reckons it's the work of a "Fantastic and special singer-songwriter."This is
a 'coming of age' album from Hollie Rogers, who remains, by choice, completely
independent. Known already for the candid, confessional nature of her songs and
for live performances that make audiences laugh and cry, Hollie refers to the
album, which has been 5 years in the making, as her "baby." She says, "I'm not
having a human one. I'm proud to have nurtured this one instead; it's got a great
personality and there's absolutely no poop."
The album is the most impressive showcase to date of Hollie's songwriting
prowess, with each song framing insight into a cohesive story; one that reveals
itself more and more with each and every line of lyric. Love, lust and selfdiscovery are some of the key themes tightly bound together throughout, as an
added maturity reveals itself in the record's strong melodies, satisfying harmonic
structures, and hooky choruses. (Try listening to 'Sinner' or 'Love' without them
becoming earworms.)
Criminal Heart was produced at Masterlink Studios, Surrey - with a cast list of A
Grade players in the shape of Masterlink's House Band. Their CV's run like a
'who's who of music' - think Elton John to Herbie Hancock - and, much to Hollie's
particular delight… The Spice Girls. She admits, "Much as I may profess my
influences to be exclusively the likes of Joan Armatrading and Joni Mitchell, I
can't deny there's probably a smidge of Spicefluence hidden in there somewhere.
Girl Power!"
But spice aside; this is no 90s pop record. Indeed, US guitar legend Robben Ford
and UK chart- topper Jamie Lawson make guest appearances, as does a track
produced by 4- time Grammy- Nominated James McMillan. All serving to add
some particularly tasteful icing to a not- inconsiderable cake. (Or more likely, a
pasty - since Hollie is from Penzance, Cornwall. It's no coincidence that her name
rhymes with a famous Pirate Ship.)

Initially started as a a solo project until Deacon D. was joined by guitarist Åskväder in September 1999. After an hiatus HETROERTZEN resurfaced in Sweden in 2009 with the release of ‘Exaltation Of Wisdom’ issued on their own imprint Lamech Records. That album put forward the band’s early interest in the occult, Gnosticism and Illumination. 2016 saw the release of their critically acclaimed ' Uprising of the Fallen' previous album, HETROERTZEN are now releasing their brand new album entitled ' Phosphorus Vol 1' for a late Spring release on Listenable HETROERTZEN comment about ‘Phosphorus Vol 1' : " A new day has come to pass. A new ray pierces the veil of darkness and confusion. A new gem feeds the astonished sight and yet we walk through times of uncertainty before facing the switching Era… After five years of silence and lots of work, Hetroertzen finally give you the first Volume of ‘Phosphorus', which is the crown for our latest Opus or the new Sephira in our artistic/spiritual development. This is in fact a strong title, taken from the Vampiric-eucharistic ritual of the “Ecclesia Gnosticae” (Gnostic Church) which inspired the “Libation” passage in the Order of the Knight Templars; and even in the Catholic Mass later on. “Unless You Eat the Flesh of the Son of Man and Drink His Blood You Have No Life In You” The Royal Art or the Dragon’s Arts are present more or less in any occult teaching as Alchemy aims to conjoin separated ways into the quintessence of “Holy Marriage”. As one church focused on the feminine esoteric aspect of Communion and the other on the masculine; We use both sides unified as a more accurate representation of “unity” and “oneness”. (The One). 'Phosphorus Vol 1' consists of eight tracks plus one bonus track available on the CD version. They harvest the very soul of Wisdom and Salvation or Salvation through Wisdom as we see it. Each title encloses a key or “Clavicula” which reveals different passages to the Adept. Once more, the term “Eyes to see and Ears to hear” is fundamental when it comes to the listening experience to its fullest. As all of the previous works, this is a unique piece which complements our experimental / conceptual aura into its own mystic tree. Time will tell when the second volume faces the waves of turbulence. Certainly, it shall swallow the soul of the sleepers and haunt the dreams of those who knock at our door… Through plague and war, we survive the hand of destiny by the laws of cosmic thought and the bliss of this endless journey. Light of all Lights, blessed be ! "

The first progressive girl group of the French Occitan language
pop scene bring you folk funk, sun-baked bossa, Coltrane jazz and
their own brand of punky ‘Dizco Rural’ against an untouched
French Balearic backdrop spanning the late 70s and 80s.
If even the most assiduous of European record collectors consider
the Occitan language music scene to be France’s best-kept secret
then it’s as fair to say that the incredible multifaceted recordings of
langue d’oc prog girl group Lei Chapacans have spent the last four
decades hiding in plain sight. In all fairness this overlooked
treasure chest of minority language excursions into folk funk,
Balearic, bossa, John Coltrane-penned jazz, baroque psych,
Palestinian poetry, comedic synth skits (and even the rawest form
of femme-fronted multilingual punky disco) has been stowed away
in inconspicuous photographic record sleeves, falsely evoking
something closer to contemporary C&W while oft-misplaced in
record shop cassette racks alongside ‘traditional’ spoken-word and
scholastic albums.
So, for the uninitiated, don’t be too hard on yourself. The fun starts
here. For those who are familiar with the rare and sought-after
one-off solo album by Occitan singer Miquela and have craved for
more, then you’ve come to exactly the right place. Lei Chapacans
(a name that roughly translates to The Vagabonds) is the all-girl
vocal group assembled by Miquela herself just two years after her
debut release, having toured the word and snubbed major label
record deal offers with a steadfast allegiance to the protection of
the Occitan language in which this album is primarily penned and
performed (minus a small amount of German and sarcastic
English in one rebellious instance).
For European collectors with a penchant for French savoir faire,
but have further yearnings for folkloric femme funk, then it’s time
to look towards the Occitan sunset where you will meet Lolo,
Miquela, Sophie, Irena and Denise.
These amazing, and undeniably culturally important recordings
might have taken some time to find a wider audience, but for
music lovers, crate diggers and vinyl vultures alike there are still a
lot of tasty morsels out there to be scavenged and devoured, ask
any self-respecting Chapacan and they’ll concur wholeheartedly.

IN 2002, THE INAUGURAL CHRISTMAS GRASS album was born with instrumental interpretations of the greatest Christmas songs of all time, performed by some of bluegrass music’s favorite performers. As the series expanded to Christmas Grass, Volume 2, in 2004 and Christmas Grass, Volume 3 in 2007, the stellar cast of performers grew to include Grammy award winner Alison Krauss, IBMA Entertainers of the Year Jamie Dailey and Darrin Vincent, the legendary Doyle Lawson and musical icon Dolly Parton. This new compilation, CHRISTMAS GRASS: The Best Of, brings the best of those 3 volumes into one incredible holiday package.

During the 13 years of existence of our label we have managed to turn many a dream project into reality and reissued countless numbers of forgotten and overlooked gems. There has, however, been one dream we've chased for years that is now finally manifesting itself on vinyl - the albums of the most remarkable Finnish post rock band Magyar Posse and especially the second of their three records, Kings of Time. Magyar Posse's debut album We Will Carry You Over The Mountains (2001) was already an impressive, ambitious work in which the band effortlessly mixed Goblin and Ennio Morricone influences into their melodic and atmospheric blend of instrumental post-something. It was, though, the second album Kings of Time, that took the band from the darlings of the local alternative music press to such levels of artistic expression that even the mainstream media had to pay attention. The album, consisting of seven untitled songs, sounds like music to an imaginary sixties new wave film that mixes Soviet space drama with spaghetti western gunfights on a scorching hot desert, all covered with slavic melancholy. The record was released originally covered in a striking red and black 20's Soviet avantgarde style cover design. The Svart Records vinyl reissue comes in a blue cover that better reflects the changed times. The vinyl also includes a booklet full of memorabilia and text that look back to the creation of this spectacular album.

During the 13 years of existence of our label we have managed to turn many a dream project into reality and reissued countless numbers of forgotten and overlooked gems. There has, however, been one dream we've chased for years that is now finally manifesting itself on vinyl - the albums of the most remarkable Finnish post rock band Magyar Posse and especially the second of their three records, Kings of Time. Magyar Posse's debut album We Will Carry You Over The Mountains (2001) was already an impressive, ambitious work in which the band effortlessly mixed Goblin and Ennio Morricone influences into their melodic and atmospheric blend of instrumental post-something. It was, though, the second album Kings of Time, that took the band from the darlings of the local alternative music press to such levels of artistic expression that even the mainstream media had to pay attention. The album, consisting of seven untitled songs, sounds like music to an imaginary sixties new wave film that mixes Soviet space drama with spaghetti western gunfights on a scorching hot desert, all covered with slavic melancholy. The record was released originally covered in a striking red and black 20's Soviet avantgarde style cover design. The Svart Records vinyl reissue comes in a blue cover that better reflects the changed times. The vinyl also includes a booklet full of memorabilia and text that look back to the creation of this spectacular album.

THE NEW STUDIO ALBUM FROM THE JAPANESE LEGENDS - AN OPUS
OF DARK & ECLECTIC BLACKENED HEAVY METAL, SHROUDED IN
TRADITIONAL EASTERN INFLUENCES..
Cult Japanese black metal legends Sigh formed in 1989/90, featuring
mainman Mirai Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought in & Sigh set about
recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence
Productions, going on to become one of the country's greatest & most revered
metal exports. With a journey through the strange & the psychedelic,
incorporating a whole eclectic mix of genre styles & experimentation throughout
their career, Sigh has remained a vital creative force in the avantgarde field whilst
maintaining their old school roots.
'Shiki' marks the latest chapter in the Sigh legacy & includes some of the band's
heaviest & darkest material for some years; a fine hybrid of at times primitive
black metal akin to early influences such as Celtic Frost amid more epic melodic
heavy metal riffing & solos. The album also utilises a whole host of instruments
to give further texture & dynamics to the compositions & eerie atmosphere,
incorporating traditional oriental instruments such as the Shakuhachi & Sinobue
flutes.
The word "Shiki" itself has various meanings in Japanese such as four seasons,
time to die, conducting an orchestra, ceremony, motivation, colour. The two
primary themes for the album are "four seasons" & "time to die".
The concept & artwork is based around a traditional Japanese poem & on 'Shiki'
Mirai explores how at this stage of life he himself is going through Autumn, with
Winter coming soon & so empathises with the contrasting sentimental feelings
from watching cherry blossoms (a symbol of spring) in full bloom.
Joining Mirai & Dr Mikannibal for this release are Frédéric Leclercq of Kreator,
plus US drummer extraordinaire, Mike Heller of Fear Factory, along with an
appearance by long-time member Satoshi Fujinami on bass. 'Shiki' was recorded
across multiple studios & mixed & mastered by Lasse Lammert at LSD studios in
Germany.

repress !

Interdimensional journeys lay ahead as Volruptus lands on with a 5-track tour of his alternate reality.

Androids navigate their way through deep space, determined to find more. One minute they're floating, the next, racing through a continuum at twice the speed of light. Sharp broken beats create a framework for immersive pads, glitchy inflections and acid bass to wander. Volruptus holds a state of the art lens to classic electro, exploring its form with the meticulous detail of a true audiophile. This one's for the psychonauts.

Marked by resilience, maturity, and the optimistic joy of a creative resurgence, Pat Green’s Miles and Miles of You is the work of an icon reclaiming ground only he himself could have ceded. Ten fresh tracks feel like the spiritual exhale of a celebrated troubadour, taking fans on a journey to the other side of turmoil… and to a place where the old ways feel new again.

Credited as one of Texas country’s modern-era founding fathers, Green has traveled many roads in the 25 years since his debut album, Dancehall Dreamer. A Grammy nominated singer-songwriter with a restless creative spirit, his career has gone beyond the bounds of a “country star” to include the work of a painter, sculptor, philanthropist, family man and more. But one constant has remained – his vision.

Green’s 14th album overall, Miles and Miles of You is also his first in nearly seven years – since his inspiration-first writing style means he won’t force a song into existence. But that philosophy also makes it possible for a whole album to arrive in a dam-burst of expression, and Green now calls Miles and Miles of You an “effortless” project.

“It was just so smooth and natural,” he says. “I write the song when it comes, and it was like ‘Man, we’re on a roll.’”

Recorded outside Austin with producer Dwight Baker (Bob Schneider, Josh Abbott Band), more of that story is revealed with each track, as Green and his band mirrored the loose vibe of the songwriting with country balladry, dancehall energy, soul-baring reflection and at times, a swampy blues strut. “The older you get, you just have more to think about,” he says. “So that’s
what this record is – a guy with more to think about, coming through a hard time and into something as fun and beautiful as creation. I’m just gonna take the ball and run with it.”

DUBFIRE ANNOUNCES HIS DEBUT SOLO ALBUM ON HIS SCI+TEC IMPRINT
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy award (2001) winning duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works ‘Ribcage’ (2007), ‘Emissions (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Exit’ (2014) a debut collaboration with Kiss Kitten. Collaborative work highlights include Luke Slater, Moscoman, Oliver Huntemann, Chris Liebing, Tiga and co-producing two tracks on the legendary Underworld’s ‘Barking’ album. A true artist, he has always been heavily invested in exploring boundaries or audio and visual technologies, which he displayed more than ever with his HYBRID show. A two-year world tour with a goal to reinvent the concert experience in 2015, also became his muse for his retrospective album ‘A Decade Of Dubfire’. A collection of all his biggest tracks and remixes from the last decade, released in 2017. It may come as a surprise to many, with so many landmark releases, that Ali ‘Dubfire’ Shirazinia hasn't yet released a totally solo album, until now.
EVOLV is an 11-track visionary into the mind of Dubfire to be released on his long-standing label SCI+TEC. It’s concept? The journey of the ‘hybrid’ being and its evolution, which kicks off with ‘Dark Matter’ and ‘Dust & Gas’ set a brooding atmosphere. The rougher percussion, and eerie lead in ‘Dark Matter’ is accompanied by a stripped back sound and glitchy vocals sitting in a spaced-out atmosphere in ‘Dust & Gas’. Its deep and minimal drum work is exceptional. ‘Escape’, a deep, dark and pulsating track that sets the tone for the body of work on the album. Coupled with ‘Elevation’ and it’s understated arpNew Release Information and crisp percussion for the second single. ‘Bottom Dweller’ give you two different versions, the original is straight forward, yet effective for a late-night head down cut, where the ‘Meltdown Mix’ takes a minimal path, and faster pace. ‘Swerve’ sees Dubfire return to that stripped back sound with heavy swinging
percussion, a landmark and much-loved element in his music. Sonically, the journey so far has been like a dystopian landscape, but ‘Decent’ brings a kaleidoscope of colour and sound before dropping into the ‘CHALLNGR’ duo. ‘CHALLNGR 1.1’ is perhaps the most contemporary track on the album. Dubfire picks up the rhythm for a full-on dancefloor focused track. It’s no-nonsense techno at its best, with heaps of pure energy. Two versions appear on the album, ‘CHALLNGR 1.2’ retains the BPM but reigns in the percussion with a snappier approach and a more euphoric warped effect. Closing out, is a special digital only track ‘The Bells Tolls’. This one drives the energy back to ground level, into a more unsettling and mysterious end to a killer 11 track debut album. The music will also be accompanied by a new audio-visual show from the revered DubLab team based in Portugal. Test shows at DGTL (Amsterdam),
Caprices (Crans-Montana) and in Sofia between 2018 and 2019 had created lots of buzz just before the COVID-19 pandemic shut the world down for two years. But now the stage is firmly set for the new album
and live shows. As music evolves, so does Dubfire. EVOLV is a special project from this pioneering producer showing his interpretation of techno in his own unique vision.

Surprise Chef’s music is based on evoking mood; their vivid arrangements utilize time and space to build soundscapes that invite the listener into their world. The quintet’s distinct sound pulls from 70s film scores, the funkier side of jazz, and the samples that form the foundation of hip hop. They push the boundaries of instrumental soul and funk with their own approach honed by countless hours in the studio, studying the masters, and perhaps most importantly, the “tyranny of distance” that dictates a unique perspective to their music. Hailing from just outside of Melbourne, Australia their first two albums, All News Is Good News and Daylight Savings amassed a die-hard fanbase and brought their sound from their home studio to every corner of the globe. The band is now signed to Big Crown Records, joining a lineage of contemporary and classic sounds that have influenced Surprise Chef’s music since their formation in 2017. Surprise Chef is Lachlan Stuckey on guitar, Jethro Curtin on keys, Carl Lindeberg on bass, Andrew Congues on drums, and Hudson Whitlock—the latest member who does it all from percussion to composing to producing. Their self proclaimed "moody shades of instrumental jazz-funk" have a bit of everything: punchy drums, infectious keys, rhythm guitar you might hear on a Studio One record, and flute lines that could be from a Blue Note session. But when you step back and take in the entirety of their sound and approach, you'll hear and see a group greater than the sum of its parts. In many ways Surprise Chef embodies the idiom "the benefits of limits." They were limited in that there weren't many people making or talking about instrumental jazz/soul/funk in Southeast Australia, let alone putting out records. This left them to develop their sound and approach in a kind of creative isolation where a small circle of friends and like-minded musicians fed off each other. "Being in Australia, being so far away, we only get glimpses and glances of this music’s origins," Stuckey says. "But hearing a label like Big Crown was one of the first times we realized you could make fresh, new soul music that wasn't super retro or just nostalgic." This approach is on full display throughout their new album Education & Recreation. Tracks like “Velodrome” pair chunky drums with an earworm synth line that has all the making of something you would find on an Ultimate Breaks & Beats compilation while numbers like “Iconoclasts” show their knack for tasteful use of space. From the crushing intro of “Suburban Breeze” to the floaty mellow bop of “Spring’s Theme” Surprise Chef has weaved together an album that takes you through peaks and valleys of emotion and provides a vivid soundtrack that will pull you deeper into your imagination. There is a beauty in the vast space for interpretation of instrumental music and they are adding a modern classic to the canon with this new album. Turn on the record and enjoy the ride, wherever it may take you.

Ally is psyched to be releasing The Cakekitchen's dark and powerfully
catchy fourth LP, Stompin Thru The Boneyard, on vinyl for the first time in
the US!
Originally released on CD domestically by Merge Records in 1994, Graeme
Jefferies has remixed and remastered the original album creating a more even
and equally stirring effect. Mac McCaughan (Merge / Superchunk) cites this as
one of his favorite iterations of the band, and for good reason. "Tell Me Why You
Lie" ranks among the best of Jefferies' edgy pop songs, while the multi-part "Hole
in My Shoe" finishes with a sterling instrumental segment. "The Mad Clarinet" is a
highly textured acoustic piece featuring another NZ legend, Alastair Galbraith, on
violin. The album ends with the perfect closer, "Another Sad Story," which is not
just another song, but one of the finest melancholy earworms you'll ever
experience. NZ pop at its finest!

Hailing from Cincinnati, Ohio, Lincoln's music is equal parts pretentious and angsty. One day Sam Means (previously of The Format) tweeted a link to one of Lincoln’s Youtube covers, catching the attention of I Surrender Records. In a moment of sheer enthusiasm, the label couldn’t resist reaching out and signing him. Lincoln released his debut EP A Constant State of Ohio on I Surrender Records in early 2017. The single Saint Bernard is a TikTok smash having been used in over 100k user generated videos. The song went on to stream over 200,000,000 times between YouTube, Spotify, and Apple Music.

Newly remastered from the original vinyl at Gearbox Studio with extended
liner notes and new information, The Joe Harriott Quintet’s ‘Swings High’,
recorded in 1967, saw Joe returning to his hard bop roots on a set that
burns with a rare light
A top band of British jazz players, including the UK’s greatest drummer, Phil
Seamen, and the sensitive and less-known-than-it-should-be trumpet playing of
Stu Hamer, create a session that transcends the difficulties of its recording to
create a timeless session, and from the point of view of pure playing, one of Joe’s
very best.
Joe Harriott: alto saxophone
Coleridge Goode: bass
Phil Seaman: drums
Pat Smythe: piano
Stu Hamer: trumpet
“Joe plays so fiercely on the record that at times it seems as though he’s about to
blow his alto apart.” - Coleridge Goode
“Shepherd's Serenade always a big one! great reissue.” - Gilles Peterson
"Some might say that this music is old- fashioned. If you’d call Bird and Fats
Navarro playing “Ornithology” old-fashioned, then this is too. But it’s still strong,
warm music played with skill and feeling, and that’s enough for me." - Richard
Williams (1970)

Following on from last year’s acclaimed Sylva Sylvarum, the epic double LP from Ora Clementi (her collaborative project with James Rushford), crys cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what in her liner notes she calls ‘an internal dérive, a journey that drifted through many places without a defining compass’. Totalling over 50 minutes, the two pieces unfold at an unhurried pace, each containing four individually titled subsections. Beginning with a sequence of the highly amplified small sounds characteristic of much of cole’s work, the opening moments of ‘The time between two durations of sleep’ are underpinned by a gentle rocking motion, weaving together contact mic crunch, metallic resonance, glimpses of bird song, and isolated drum machine hits, the sonic space expanding and contracting as focus moves between elements. Briefly side-lined by a tactile but unplaceable sizzling, this complex weave of voices then returns in a kind of dubbed-out ‘version’, the percussive accents echoing around the stereo space. In one of the record’s most beautiful and unexpected moments, these sounds are joined by a sparse melodic line performed on a broken 1980s digital synth, the vaguely New Age timbres being taken on a long, tonally ambiguous wander. Cole’s immersion in memories of travel comes to the fore in the final section of the first side, titled ‘Wat Paknam’ after a royal temple in Bangkok, where snatches of voices, ringing bells and distant waves of chanting blur together with synth tones into an increasingly abstracted wave of sound. The second side, ‘Slices of cake’, opens in a similarly hallucinatory outdoor space of echoing bird song and liquified traffic before abruptly zooming in on a microscopic world of subtly processed and highly amplified objects, explored with a starkness and quiet insistence that calls to mind the fringe not-quite-concrète of outsiders like Paul A.R. Timmermans or Knud Viktor, whose obsessive interrogation of dripping water might also serve as a point of reference for the following sub-section, the aptly titled ‘magischer Abfluss’ (magic drain).

While Other Meetings develops many aspects of cole’s previous work – the hyper-magnification of small gestures, the unsettling edits and fades partly inspired by hypnagogic states, the location recordings smeared into oneiric haze – it is almost as if these pieces are somehow songs, the remnants of an evaporated music of which nothing remains except isolated hits from a synthetic drum, a handful of notes, or simply a duration of emptied atmosphere. Radically reductive yet deeply musical, Other Meetings is a major work from an artist driven by an uncompromising and idiosyncratic vision.

Presented with an inner sleeve with photos and liner notes from the composer and remastered audio.

Over the past two decades, Dez Mona never ceased to surprise audiences. Less than a year after “Lucy”, a 'worldly oratorio' in collaboration with the Antwerp Baroque Orchestration X, singer Gregory Frateur and his companions now knock on the door with the cosmopolitan “Loose Ends”.

On the group's ninth studio album, rugged funk often alternates with bouncing disco pop. 'After the dark ballads from our previous projects, we consciously chose to make a cheerful, straightforward record', says Frateur. 'This time I didn't want to exhaust myself too much in metaphors: the lyrics had to be simple and 'in your face'.

On a compositional level, Gregory Frateur gave the steering wheel this time to guitarist Sjoerd Bruil and accordionist Roel Van Camp. This contributed to Dez Mona stepping out of their comfort zone on Loose Ends and experimenting with a new sound. On the new album, for example, Van Camp plays the piano more often than the accordion. Leaning towards a more electronic sound, some songs gravitate and take you on a fantastical, abstract journey. ’Indeed, sometimes Sjoerd adds strange angles in his compositions', the singer concludes. 'During performances, they force me to put myself aside as a singer and get completely absorbed in the instrumental trip'.

The emphasis is more than ever on the rhythm and groove. Drummer Karel De Backer, the newcomer in the band, gives the music extra punch, while the absence of a bassist is ingeniously compensated by Bruil and Van Camp. 'On Loose Ends we go 'back to basics', admits Gregory Frateur. “But without losing our recognisability.”

Multi-instrumentalist Tijs Delbeke, who was part of Dez Mona for many years, but has moved to Balthazar, was responsible for the production. Frateur prefers to surround himself with people with whom he feels at ease and who carry the DNA of Dez Mona.

The French neo big band celebrates its 10th anniversary with a live
concert broadcasted live on the French radio station France Musique.
The genesis of this one is an ode to the explorers who went to visit "the
ends of the world", the North and the South poles
Between icebergs, extreme cold, icy waters, infinite landscapes, clear skies and
current and crazy expeditions as led by Jean-Louis Etienne with Océan Polaire.
POLAR STAR embodies the visual and soundtrack of these crazy epics: a music
that is at the same time intimate, fragile and epic, and sometimes abyssal to
escape in a dreamlike exploration movie.
It is an "awareness" album, taking care of the extreme beauty of the world, but
also a message full of hope: to be amazed and to continue to be. POLAR STAR
reveals a new breath, at the same time powerful, sensitive and luminous. It is an
epic whirlwind that immerses us into the depths of a progressive jazz with rock,
electro, and sometimes pop fragments.
"We love what amazed us and we protect what we love" Jean-Yves Cousteau

Walter Smith III and Matthew Stevens are two musicians at the forefront
of developments in jazz and improvised music, listing the likes of
Terence Blanchard, Ambrose Akinmusire, Esperanza Spalding and
Christian Scott as collaborators
The pair started working together in 2017, and four years later, they're back for
the third iteration of their highly commended In Common project. Previous guests
include Nate Smith, Linda May Han Oh and Marcus Gilmore; on 'In Common 3',
Kris Davis takes the piano chair vacated by Micah Thomas, and completing the
lineup are two legends of the game - Dave Holland and Terri Lyne
Carrington.What's new, third time around? "It's longer, freer, and yet more
spontaneous," says Smith. The successful In Common formula - inventive 'onepage songs' written with specific musicians in mind - disguises the through-line
that uniquely shapes this record: "The spotlight is on the community of musicians
as a whole," Smith comments. "The general vibe is sculpted by the musicians'
interpretations of what we bring in." Davis' influential presence means the project
leans into the aesthetics of free improvisation for the first time; the resulting
soundworld lends itself to electronic manipulation, another first for the series.
The span of fifteen tracks showcases the duo's knack for reinvention, slipping
into unfamiliar contexts without losing sight of the album's focused essence.
Smith is keen to emphasise the standalone nature of the divergent In Common
recordings. Some aspects carry through though, like their commitment to
remembering lost influences - opener 'Shine' serves as both a thank you and an
acknowledgement to McCoy Tyner, Wallace Roney, Chick Corea, Jimmy Health
and Ellis Marsalis. That introduces the remaining fourteen tracks, that divide
nearly exactly into spontaneously constructed ideas that introduce fully
composed tracks.

"The anger and depression got to me, and I couldn't hold it in anymore
So, I got into a room with my demons and we just hit record," shares indie singersongwriter Leslie Mendelson. The resulting album, playfully titled, ' If You Can't
Say Anything Nice' ,' is viscerally themed, imaginatively arranged, cinematically
dynamic and textured, oozing raw elegance. " I deal with depression and anxiety,
and I've never really sang about it before. It also felt like what was going on with
society was also affecting me, in terms of gun violence, the opioid crisis, and the
all hatred in the news and media. It felt like it was time to speak out," Leslie
explains. Leslie has released two prior albums, including her Grammy Awardnominated debut, 'Swan Feathers,' one EP, and three singles. Her first album
exhibited a production sheen she opted to strip away on her sophomore album, '
Love & Murder.' Her latest, ' If You Can't Say Anything Nice ' ,' is a gutsy album that
splits the difference between her previous albums in terms of production, but
also features some garage- rock bluster. " The best time to make a rock n' roll
record is when you're broke and pissed off, " she says, with a good-natured laugh.
For the album, Leslie worked with longtime co-writer and guitarist Steve McEwan
who co-produced the album alongside bassist and engineer Lorenzo Wolff.

2022 Repress

Junior Ross and The Spears are another great Jamaican Roots group that have been nurtured under the guidance of fellow Jamaican, producer and singer Tapper Zukie.Who not only gave the singer and his band their name but recorded, produced and released their records on his own 'Stars' imprint label.

Junior Ross (Clifford Palmer, b.7 Sept 1953, Kingston, Jamaica) grew up alongside his brothers Frankie Jones and Roy 'Soft' Palmer, who in turn had entered the music business alongside future roots singer Price Alla .

Prince Alla had formed a group called 'The Nazarines' with Roy Palmer and Milton Henry, so music was all around Junior Ross and he would soon follow in their footsteps and start recording some of his songs.

This album you have here had its initial release in 1992...We have added to it various dub versions that were b-sides to the singles and extended recordings again produced by Tapper Zukie.

So you have the Junior Ross and the Spear's classis album and its related musical accompaniments all in one place and sounding better than ever...

We hope you enjoy this classic roots set....

First album from Cologne based Jazz / Hip-Hop band for Melting Pot
Music home to artists such as FloFilz, Twit One, Summers Sons,
Pachakuti & young.vishnu, etc.

Bokoya is a four-piece jazz/hip-hop band from Cologne who plays
improvised beat music. Like a four-headed human drum machine, Bokoya improvise, shape, and develop beats in the electric field of repetition and variation. It's impossible to put a tag on Bokoya's music.

BADBADNOTGOOD, Dilla, Krautrock, Ambient and dub might work as
rough reference points for the music but don't do it justice. After a sling of releases on Wadada Records, Bokoya are now signed to Melting Pot Music where they will release their forthcoming projects.

On 14 October 2022, wildly creative free-form songwriter Rachael Dadd is to release her brand new studio album 'Kaleidoscope' via Memphis Industries and follows 2019's 'Flux', which was released to much acclaim and which she was touring when the pandemic struck. Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to 'Kaleidoscope' "they will feel held and find space to breathe, grieve and celebrate." "This album is a lot more honest and personal than 'Flux'" she shares, "but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs." Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), 'Kaleidoscope' includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and 'Flux' producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true" reflects Rachael.

On 14 October 2022, wildly creative free-form songwriter Rachael Dadd is to release her brand new studio album 'Kaleidoscope' via Memphis Industries and follows 2019's 'Flux', which was released to much acclaim and which she was touring when the pandemic struck. Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to 'Kaleidoscope' "they will feel held and find space to breathe, grieve and celebrate." "This album is a lot more honest and personal than 'Flux'" she shares, "but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs." Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), 'Kaleidoscope' includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and 'Flux' producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true" reflects Rachael.

Wildly creative free-form songwriter Rachael Dadd is set to release
her brand new studio album, ‘Kaleidoscope’, via Memphis Industries.
The album follows 2019’s ‘Flux’, which was released to much
acclaim, and was the album she was touring when the pandemic
struck. Like so many people disconnected from their communities and
struggling through the lockdowns, Rachael Dadd turned inwards,
seeking escape through music and connection through songwriting,
and her hope is that when people listen to ‘Kaleidoscope’, “they will
feel held and find space to breathe, grieve and celebrate.”
“This album is a lot more honest and personal than ‘Flux’” she shares,
“but I feel the songs are universal as they are largely rooted in truth
and love. If I had to pick a favourite album it would be this one
because of the magical rekindling of human connection when me and
my band got back in a room together again. All that magic went into
these songs.”
Co-produced “intuitively, boldly, and playfully” by Rachael and Rob
Pemberton (The Staves, Emily Barker, Maja Lena), ‘Kaleidoscope’
includes musical collaborators such as Maja Lena (Low Chimes),
longtime collaborator Emma Gatrill (Willy Mason), Alex Heane (bass),
Charlotte West (synths), Alex Garden (strings) and ‘Flux’ producer
Marcus Hamblett (Villagers, James Holden, The Staves), giving the
record “just the right colour combination, just the right pattern of
shapes, plenty of space where needed and finally landing in a sound
world that feels fresh and open and true,” reflects Rachael.
Japanese aesthetics absorbed from her time spent living there are
subconsciously woven into Rachael’s songs. “I first stepped foot in
Tokyo in 2008, sparked by the adventure of such a rich and different
culture and later on I lived on a small island and experienced an
appealing and balanced way of life: the aesthetics, the art and the
traditions,” she recalls. “There was a lot of caring for each other, a lot
of gentleness, and a lot of simple living in harmony with nature. Japan
left its cultural mark on me and is now part of my inner world and I’m
sure this comes out with the words and music I write.”
“But overall,” Rachael explains, “this is an album of homecoming and
reconnecting to my own truth, to my community here, to the earthy
land that I love and to the sky that I know.”

Unavailable on vinyl for over 20 years, ‘Sings Reign
Rebuilder’ was the stunning 2001 debut LP from Set Fire To
Flames - a sprawling, adventurous 13-piece Montreal
collective, including seven members of Godspeed you black
emperor! plus others from bands like A Silver Mt Zion, Fly
Pan Am, etc.
The sole reason FatCat’s 130701 imprint was founded, the
LP remains an incredible and unique document. Recorded
over a five-day period in a rickety old house in a communal
atmosphere of long-duration improvised creative activity,
operating on no sleep / confinement / intoxication, it was
brilliantly edited to mix post-rock guitar-scapes; extended
passages of scratchy, freeform improv and concrete
clatterings; atmospheric location recordings; stirring,
chamber string arrangements; deep/sparse drones; and
Kraut-like, heavily rhythmic workouts.
Described on its release by TimeOut as “one of the most
broodingly beautiful, dramatically emotional, hauntingly
evocative albums likely to ever scrape at your soul… This
record will kill you”; and by Pitchfork as “a gripping testament
to the power of emotional expression in music... a
marvelously inventive and powerful album.”
Perhaps the most dynamic and adventurous record to come
out of the early 2000s Montreal scene around Godspeed you
black emperor!.
Long-awaited first ever reissue of a classic album, which sold
out of its original (only) pressing within weeks of its release
on 15th October 2001 and has been unavailable since.
Remastered at Dubplates & Mastering and issued in a
heavyweight black vinyl double LP edition, including lavish
gatefold packaging, 20th Anniversary-branded OBI strip and
original 24-page 7” x 7” booklet with full colour print and eight
tracing-paper pages plus full digital download coupon.

TOWNES VAN ZANDT STUDIO SESSIONS FROM 1974 AVAILABLE ON VINYL FOR THE FIRST TIME EVER In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’. To commemorate the 50th anniversary of the beginning of Van Zandt’s turbulent musical career and launch of a major catalogue reissue programme, Charly has restored and re-mastered ‘The Nashville Sessions’ to present a stunning document of the folk-blues master at his absolute peak. “These are songs that tap into the timeless myth of the American troubadour, a place where wandering souls tramp the byways of their homeland...” Restored and mastered to vinyl from the original tapes provided by producer and manager Kevin Eggers. Full colour LP sleeve with original Milton Glaser portrait cover. Fully illustrated inner with detailed sleeve notes by Uncut magazine journalist Rob Hughes. Part of Charly’s 50th anniversary programme celebrating the start of Van Zandt’s career. All original Poppy and Tomato albums which Townes Van Zandt recorded at the peak of his career will be newly re- mastered, restored and lavishly repackaged and available on CD & limited edition 180g heavyweight vinyl. The death of Townes Van Zandt in 1997 at age 52 robbed the world of a troubled genius as well as one of America’s finest songwriters. His reputation and popularity has grown greater by the year inspiring books, a documentary and renewed interest from the media, passionately loyal fans and contemporaries such as Willie Nelson, Merle Haggard and Emmylou Harris who have covered his songs to the upper-reaches of the American charts. “From Neil Young and Willie Nelson, Bono and Bob Dylan (who reportedly once said that Townes was “in some ways the better writer”) to Tindersticks and Mudhoney, songwriters and musicians speak of Townes with reverence.” MOJO MAGAZINE “He was the best songwriter and most riveting solo performer I’ve ever seen.” STEVE EARLE “An effortless masterclass in emotionally effecting Americana”.

OVERVIEW: When an ancient monster that laid waste to planets when the dinosaurs roamed Earth is accidentally released from its underground prison, there's only one kaiju you can count on to defend us all: Mothra! Directed by Okihiro Yoneda with a story by the great GODZILLA creator Tomoyuki Tanaka, REBIRTH OF MOTHRA sees the legendary lepidopteran protect the human race from Belvera, the evil sister of Mothra's twin priestesses. She wants to destroy the world with the superspace demon beast Desghidorah, a three-headed extraterrestrial dragon. But Belvera and her monster aren't counting on the larva of Mothra joining the fight. Enter Mothra Leo! Brought into score REBIRTH OF MOTHRA was Toshiyuki Watanabe, son of the great tokusatsu and anime composer Michiaki Watanabe (YOKAI MONSTERS: 100 MONSTERS, MAZINGER Z), who lived up to his legacy by supplying a bold and thrilling orchestral score. Watanabe's music is full of ethereal beauty, with a fantastic opening title cue replete with a glorious female choir to celebrate Earth's greatest defender and full-blooded brass magnificence as Mothra and son fight against the evil Belvera and Desghidora. And of course, it wouldn't be complete without Yuji Koseki's classic Mothra's Song: Over time, oversea, like a wave - our guardian angel! (Charlie Brigden)

The long awaited debut album from ROE – winner of Northern Irish Music Prize’s Best Emerging Artist. Recorded and Produced by Tommy McLaughlin (Villaghers/SOAK) in the wilds of Donegal in 2021, ‘That’s When The Panic Sets In’ is truly vibrant release, with rich contrast between ROE’s introspective anxieties and the colourful palette that she’s thrown across them. Hear the development and evolution of an artist and their style in real time over the course of 12 joyous, introspective and beautiful tracks.

'Back In Business Again', the long-anticipated new record from blues-rock
eccentrics The Hooten Hallers, is a fever-dream of thoroughly American
rock and roll from the fertile musical heartland of Missouri, USA
On this ten track thrill-ride, The Hooten Hallers inhale a wealth of roots and rock
influences — blues, soul, punk, even New Orleans jazz — and spit forth a highvoltage, swinging rumpus that defies what you thought you knew about rock and
roll. Bubbling beneath the rip- roaring surface are all- original songs of outsider
Americana delight, from tall tales about near-mythological characters to a eulogy
commemorating the demise of 15 years worth of tour vans to heartfelt blues and
well beyond. John Randall's infernal howl and frenzied guitar swirls into a
demon's brew with Andy Rehm's otherworldly falsetto screams and unbridled
drumming. Kellie Everett drives the unorthodox low end with the rich tones of her
rumbling baritone and bass saxophones, rounding out the band's sound and
placing it firmly in a class of its own.
Produced by Dominic Davis (Jack White, Greensky Bluegrass), 'Back In Business
Again' takes a match to The Hooten Hallers' fuse and explodes the renegade
power trio to the edge of madness and back again, one vigorous, swinging,
perfectly peculiar song at a time.

CITY BURIALS - KATATONIA'S 2020 STUDIO OPUS OF ABSORBING,
SOARING PROGRESSIVE ROCK & METICULOUSLY CRAFTED DOSES OF
MELANCHOLY - SINGLE LP FEATURING NEW HALF-SPEED MASTER FOR
OPTIMAL SOUND QUALITY.Formed in 1991 by Jonas Renkse & Anders
Nyström & transitioning from early pioneers of the rising black/death/
doom movement to powerhouses of the progressive metallic rock genre,
the Swedish connoisseurs of melancholy returned in 2020 with their
stellar opus, 'City Burials' - the band's eleventh studio album & first since
2016's haunting 'The Fall Of Hearts'
With the winds of a new direction steering the band on their latest journey, 'City
Burials' stood as a triumph of deep & enigmatic progressive rock – the fruits of a
rejuvenating & profound chapter in the band's legacy & a catalyst for its creators.
Compiled into one of their most important modern works & statements to date,
the finely- honed instrumentation provides a multi- textured backdrop with the
voice of Jonas Renkse guiding us through these latest trials of loss & ruin.
The chemistry between Jonas, Anders & their band mates – bassist Niklas
Sandin, drummer Daniel Moilanen & most recent recruit, guitarist Roger Öjersson
– never sounded more potent, with 'City Burials' being the first album Katatonia
made since Öjersson became a full-time member.
Inspired by an injection of fresh blood into Katatonia's creative brew, 'City Burials'
helped Katatonia reclaim part of their heavy metal roots, via several moments of
exuberant, old- school classicism, deftly woven into these new songs'
kaleidoscopic fabric, resulting in an album that propelled the band ever further
into the spotlight.
'City Burials' was produced by Nyström/ Renkse & recorded at Soundtrade
Studios, Tri-Lamb Studios & The City Of Glass, throughout October & November
2019, with engineering work handled by Karl Daniel Lidén. The album also
featured a guest appearance by Anni Bernhard, the voice behind Stockholm
based act 'Full Of Keys'. Artwork appeared courtesy of Lasse Hoile, the image
itself representing the ongoing era of the Dead End King.
This edition of 'City Burials' is presented on single black vinyl, featuring a new
half-speed vinyl master for optimal sound quality.

Consisting of a single massive song in 12 individual parts, plus pulse
quickening overture and truly grand finale, La Luna is an unprecedented
artistic achievement by one of contemporary music's most ambitious and
consistently surprising practitioners
Daniel Romano sets his visionary poetry to exuberant tune - It is epic,
immaculately and extravagantly arranged, and truly cinematic (a full length film of
La Luna starring fellow You've Changed Records recording artist Julie Doiron in
the lead role will debut in the fall of 2022.)
La Luna is a hymnal or scroll for modern seekers, brought to life by the
impeccably skilled Outfit, with swagger and joy, including star turns on lead
vocals by Julianna Riolino, and newest member Carson McHone (Merge Records)
in addition to Daniel's own powerful vocals. Transcendently melodic, undeniably
classic and shockingly contemporary, La Luna synthesizes teachings from the
sacred texts of rock and roll and psychedelic-folk (Beatles, Fairport Convention,
even the Stones, Queen….) into a new testament for a new time.
La Luna arrives in a beautiful double- tip- on gatefold jacket, featuring original
artwork by Daniel Romano and the full verse and measure of the lyrics.

Fly Anakin's debut studio album 'Frank' draws influence from the classic
R&B and Soul his dad played him as a child, showcasing a gift for
songwriting alongside the breathless raps he's become known for
Recorded at the same time as 'FlySiifu's', it features Pink Siifu on the DJ Harrison
produced 'Black Be The Source', as well as link ups with another Richmond hero
and Anakin mentor Nickelus F, and fellow Mutant Academy members Big Kahuna
OG and Henny L.O..
Beats by Madlib, Evidence, Jay Versace, DJ Harrison, Ohbliv, Foisey, Graymatter
and Like of Pac Div.
"A perfect display of Anakin's captivating lyricism and delivery... flexes the New
York-tinged ruggedness in his breakneck raps as he reflects on his past, present
and future." Paste.
Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as
"one of the illest MCs", and has previously collaborated with Freddie Gibbs. He's
co-founder of the Richmond rap collective Mutant Academy.
"Anakin's detail isn't a skill that could just be picked up from studying the legends
of the genre, it's a gift." Pitchfork
Singles have received press suport so far from Pitchfork, Rolling Stone, FADER,
Hypebeast, Stereogum, Vibe and Okayplayer.Fly Anakin recently performed on
Benji B's BBC Radio 1 show, and guested on Mary Anne Hobbs' BBC 6Music show
and Ebro's Apple Music 1 show. US radio support on the singles from Peter
Rosenberg on Hot97, Sirius XM and NPR. Singles have been featured in playlists
by Spotify, Apple Music, Tidal, Dummy, Crack, Ryan Schreiber Pitchfork, Brooklyn
Vegan, Vinyl Me Please, Red Bull, Warp Records and Fool's Gold Records.
Fly Anakin will tour the UK and US this Spring in support of album release. In
November 2021 he performed a European tour alongside Pink Siifu, with dates
across the UK, France & the Netherlands, including Le Guess Who? Festival,
Utrecht.

Fly Anakin's debut studio album 'Frank' draws influence from the classic
R&B and Soul his dad played him as a child, showcasing a gift for
songwriting alongside the breathless raps he's become known for
Recorded at the same time as 'FlySiifu's', it features Pink Siifu on the DJ Harrison
produced 'Black Be The Source', as well as link ups with another Richmond hero
and Anakin mentor Nickelus F, and fellow Mutant Academy members Big Kahuna
OG and Henny L.O..
Beats by Madlib, Evidence, Jay Versace, DJ Harrison, Ohbliv, Foisey, Graymatter
and Like of Pac Div.
"A perfect display of Anakin's captivating lyricism and delivery... flexes the New
York-tinged ruggedness in his breakneck raps as he reflects on his past, present
and future." Paste.
Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as
"one of the illest MCs", and has previously collaborated with Freddie Gibbs. He's
co-founder of the Richmond rap collective Mutant Academy.
"Anakin's detail isn't a skill that could just be picked up from studying the legends
of the genre, it's a gift." Pitchfork
Singles have received press suport so far from Pitchfork, Rolling Stone, FADER,
Hypebeast, Stereogum, Vibe and Okayplayer.Fly Anakin recently performed on
Benji B's BBC Radio 1 show, and guested on Mary Anne Hobbs' BBC 6Music show
and Ebro's Apple Music 1 show. US radio support on the singles from Peter
Rosenberg on Hot97, Sirius XM and NPR. Singles have been featured in playlists
by Spotify, Apple Music, Tidal, Dummy, Crack, Ryan Schreiber Pitchfork, Brooklyn
Vegan, Vinyl Me Please, Red Bull, Warp Records and Fool's Gold Records.
Fly Anakin will tour the UK and US this Spring in support of album release. In
November 2021 he performed a European tour alongside Pink Siifu, with dates
across the UK, France & the Netherlands, including Le Guess Who? Festival,
Utrecht.

Progressive rock bent with a considerable amount of rock 'n' roll gospel
soul!
.Sanctuary's virtuosity is undeniable, and every song displays each
member's considerable talents
The album is abundant with soaring and passionate vocal arrangements that are
carried on high by the lively interplay of Norm Weinberg's percussive flurries as
they weave their way through a tapestry of flutes, strings, and guitars. Deeply
resonant keyboards set the foundation for the band's sound, and in fitting, albeit
unsuspecting, fashion, it is Eric Bikales' flute playing that shepherds the listener
through the album.
Beginning with "All In My Dreams," the flute's light and colorful timbre captures the
ear, serving as a clarion call for all to follow and creating moments of majesty, as
music and message seamlessly transform into one. Sanctuary's interpretations
of Yes's "Time And A Word" and Edgar Winter's "Winter's Dream" are not mere
covers. They are bright and bold musical statements, refusals to submit to the
negativity of the times. Their unique take on these compositions, as well as their
own, provides the kind of bright eyed anthems their generation's voice needed to
compete against the backdrop of war and social upheaval dominating the
headlines.

London has been fanning the flames of hardcore punk relentlessly, producing some of the best music of the genre for a while now. Enter Mastermind, four young guns kicking it up a notch or five. Starting in 2018, and after a well received demo on Cold Comfort, here comes their scorching new release, ‘Bad Reaction’ EP, on Quality Control HQ Records. Prepare to have your mind mastered in the art of the wildest hardcore songwriting, where a 3 minute song can keep you engaged throughout and doesn’t seem out of the norm. Karim Newble, also the resident artist of the band, takes you through the waviest of riffs that remind you of the crazy end of late 80s NYHC, from such legends as Rest in Pieces and Killing Time. Meanwhile vocalist Jon Osborne might be the long lost son of Jeff Perlin growling along to the rhythm section, seemingly out of control with one beat hook after another, pulling everything together. Genre: Alternative / Punk & Hardcore

In his brand-new album ' Yearbook', RJ combines the feeling of loss and
hope, to explore the depths that can be reached within song writing
The album fuses classic song writing with an alternative indie pop sensibility,
sweeping from the sun-kissed bliss of the hopeful Feel Alive, through the dark yet
enticing Cutting Room Floor, to the intimately beautiful Forest Fires which
intertwines voice, guitar, and string quartet. He has created a world around the
songs. An App, accessed through QR codes installed into the album artwork,
created alongside a friend, invites fans into the songs; through childhood
pictures, voice note demos and discussions around the lyrics and their
themes.UK tour announced including Royal Albert Hall. Print Press support from,
The Times, CLASH, The Guardian and Wonderland along with Playlist support for
singles preceding the album release including: Wonderland Magazine
'Wonderlist', Square One Magazine € Release Radar', Spindle Magazine 'Spindle
Selects'. Single ' Feel Aline' was featured on Record of the Day in July. " Genuinely
for the first time, I've written songs on Yearbook where I've gone 'Oh my God,
that's mine! I've surprised myself and I really do love it.' he admits. Now it's
everyone else's turn to be surprised by RJ Thompson's ever- expanding world.
'Yearbook' released as a Jewel Case CD.

In his brand-new album ' Yearbook', RJ combines the feeling of loss and
hope, to explore the depths that can be reached within song writing
The album fuses classic song writing with an alternative indie pop sensibility,
sweeping from the sun-kissed bliss of the hopeful Feel Alive, through the dark yet
enticing Cutting Room Floor, to the intimately beautiful Forest Fires which
intertwines voice, guitar, and string quartet. He has created a world around the
songs. An App, accessed through QR codes installed into the album artwork,
created alongside a friend, invites fans into the songs; through childhood
pictures, voice note demos and discussions around the lyrics and their
themes.UK tour announced including Royal Albert Hall. Print Press support from,
The Times, CLASH, The Guardian and Wonderland along with Playlist support for
singles preceding the album release including: Wonderland Magazine
'Wonderlist', Square One Magazine € Release Radar', Spindle Magazine 'Spindle
Selects'. Single ' Feel Aline' was featured on Record of the Day in July. " Genuinely
for the first time, I've written songs on Yearbook where I've gone 'Oh my God,
that's mine! I've surprised myself and I really do love it.' he admits. Now it's
everyone else's turn to be surprised by RJ Thompson's ever- expanding world.
'Yearbook' released as a Jewel Case CD.

3am Recordings brings you its debut album, from label boss Al Bradley. While it would be much easier to get some huge name in for this who is previously unrelated to 3am, it was never going to be like that here. Staying true to the ethos of the label, it was important that this milestone was a reection of the label and what it has always stood for. The move back to vinyl in 2015 has rmly planted the label back
in its place as one of the UK's most consistent for house music, retaining its value of working with artists who have been involved with the label over its 19-year history, or who have been rm supporters of 3am during its time. Over the 9 cuts there are a variety of vibes, 'Little Treasures' aims to cover a selection of sounds that represent Al's inuences & styles, having been buying records since the mid-80s &
playing vinyl as DJ since he got his decks in 1991. The past is important as it represents where we started, the future is equally important, as it's the area of the unknown & we have to embrace it...

Covering deep house, dub techno, broken beats, raw machine funk, beatless ambience & more, the album is one that is danceoor-aimed, but works beyond that area too. With support from the likes of Placid (We're Going Deep), Carlo Gambino (We_R_House), Lolu Menayed
(Rawtrax), Lars Behrenroth (Deeper Shades of House), Loz Goddard (Oath), James Reid (Sonet), Moodymanc (2020Vision) & many more, the album reaches right across the spectrum of electronic music.

Brawni’s debut EP ‘Golden Dawn’ features 4 keenly focused club ready tracks that weave between electro, techno, and melodic 4x4 journeys.Stemming from a year of pandemic induced studio time,Dillon wasted no time and got to work producing over 10 tracks which have been featured in his live video series and live sets. ‘Amber’ the lead track on the record features a bouncy bassline and catchy melody with spaced out vocals that together create a melancholic dancefloor hitter. ‘Dumbledore’ based on the name alone lets you know you’re in for a warpy one, featuring a spooky melody, relentless drum programming and a breakdown to end all breakdowns. ‘I Do My Own Stunts’ a short, to the point track with heavy distortion and twisting drum patterns is a perfect fit for any hard hitting DJ Set. The final track ‘Tubular Bells’ is a classic electro banger with rolling basslines, arpeggiated synths and nostalgic melodies. All together they for ‘Golden Dawn’ aptly named as Cabal’s and Brawni’s debut vinyl release.

"Party people hold onto your hats!" Ugly Duckling presents their fifth full-length album Moving at Breakneck Speed. After more than a decade in the music business, Young Einstein, Andy Cooper and Dizzy Dustin are well accustomed to the recording process. For their latest LP, the boys dug deep into their bag of tricks to create what they feel is their most dynamic and complete release to date. Moving at Breakneck Speed is an exciting and musically exotic adventure story that has our desperate heroes circling the globe to outrun an evil gang of super-criminals determined to put an end to UD once and for all. The record is made up of 14 power packed tracks that showcase Ugly Duckling's classic production sound as well as the flavorful and humorously soulful vocal styles of Dizzy and Andy. "By the time you work on your fifth record, you ought to know how to do it, right?" asks Andy, "I think we put all of the pieces together to make a really, really good album".

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

New pressing on Opaque Natural Vinyl. For Fans Of... Durand Jones & The Indications, Tame Impala, Temples, Lee Fields. Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold..... and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel. Sage Motel, Monophonics' fifth studio album since 2012, tells its story. Once again produced by brilliant bandleader Kelly Finnigan, the album captures a timeless sound that blends heavy soul with psych-rock. With their previous album, It’s Only Us, selling over 10,000 physical units and garnering over 20 million streams, Monophonics have built a reputation over the past decade as one of the most impactful bands in the country. If these walls of the Sage Motel could talk, this is what they'd say. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel. Tracks 1. Check In 2. Sage Motel 3.Let That Sink In 4.The Shape of My Teardrops 5. Broken Boundaries 6. Love You Better 7. Never Stop Saying These Words 8. Warpaint 9. Crash & Burn 10. Check Out

Empathy is the codeword when it comes to The AM’s second solo EP: The ‘Sexworker’ EP. A short story through music and art, allowing you a moment to walk a mile in another seasoned professional’s shoes… Imagine life through her eyes, her thoughts, her feelings, her actions and motivations as her work takes her from flirty fun to a much more severe and fierce role as a vigilante, fighting for justice and retribution for women who’ve been abused and wronged. As the EP progresses, the further we’re plunged into this dark nocturnal world of carnal chaos, deceit and danger.

Sat in a not-so distant neon tomorrow, downtown Detroit, this is the vivid concept and narrative conjured by Detroit native, violinist-turned-techno artist The AM (Ann-Marie Teasley) Sliding into our collections since her debut tracks last year as one half of HLX-1, 2022 has been all about The AM solo releases; in March we had ‘Black Majik’ on Tresor. Now on Deeptrax ‘Sexworker’ is another revelation from the agenda-setting artist who’s crafted a completely immersive narrative that ranges from the playful electro beats of ‘Intercosmic Lap Dance’ to the runaway juggernaut ‘Black Galaxy’ (a collaboration with Scan 7's Track Masta Lou). Each track adding layers of tension and intrigue, cutting through the late night sleaze and exploitation with raw machine soul, ‘Sexworker’ is steeped in detail… But loaded with enough space for your imagination.

Fronted by a stark futuristic city artwork, ‘Sexworker’ takes place in The AM’s stomping ground but could just as easily happen anywhere in the world… Amsterdam, London and right now, our speakers. This bumps in an exciting yet timeless way. It’s AM 24/7 right now.

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Stratton returns to Of Paradise for the label’s 20th release. Chalking up a hat-trick of EP’s on the imprint, with the impeccably effective ‘Never Bettered Always Battered’. Arguably his most accomplished and significant release to date, this 4-tracker effortlessly showcases the London-based producers expertly distilled and patented style of evocative and headstrong UK hardcore.

The A-side launches with the anthemic ‘Badboy’, a true floor melter, loaded with tunnelling drums, an electric bassline and a criminally infectious chopped vocal. Following that is ‘Double Happiness (Bludclot Mix)’, a lethal dose of no nonsense proto-rave goods, emanating from the streets of North London. The product of a truly skilled operator who fully understands the inner workings of the kick, hoover and piano.

‘Bless’ kicks off the flip side with effortless momentum. The impetus clearly focused on rupturing bassbins and rewiring brains, with its weapons grade drums, growling bassline, lethal Amen break, euphoric melody and rabid hoover.

Closing out the release is ‘Vapour Trail Hurricane’ another system-rushing slice of hardcore mastery that pulls no punches in its pursuit of dance floor dominance. Fuelled by a hammering kick, sharp sirens and swirling acid lines, these are the final moments before imminent self destruction.

This is true peak-time pressure from one of the UK’s most exciting and inimitable talents.

Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha’s “Orkos,” originally released on cassette, is one of these standout musical diamonds that combines Jazz and Egyptian vocal traditions with Funk, Latin and Soul. Out via Habibi Funk October 10th.

Maha’s “Orkos” immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who’s group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu’s “Ramy” TV Series).

At the time of its release, however, the “Orkos” cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha’s story. Below is a bit more context around the release as well as the campaign schedule.

The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether.

Maha’s “Orkos” album fits this category. Put out in a small run of cassettes, it’s fair to say that the singer’s sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time.

From the funk sounds of “Law Laffeina El Ard” (Single 1, out September 1 with Pre-Order announcement); the moody, mellow sounds of “Kabl Ma Nessallem We Nemshy” (Single 2, out September 23) or “We Mesheet;” to excursions into Latin sounds in the title track “Orkos,” and disco with “Ana Gaya” (Album Focus Track, out October 10) the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time.

We connected Maha in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. She also seemed interested in the idea in bringing her music back to people’s attention. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, having found a copy of it a year or two before, in Cairo. It was then obvious to team up for a collaboration for this project. You can find Moataz’s story about Maha and her music, as well as extensive interviews with Maha herself, in the booklet accompanying the release.

As always, both vinyl and CD come with an extensive booklet featuring interviews with Maha as well as unseen photos.

Like Sun Ra's Arkestra and John Coltrane are to jazz, the Mystic Revelation of Rastafari are to reggae – the ultimate expression of roots music and Rastafarian ideology in reggae music, music functioning at a high level of spiritual consciousness combined with an equally avant-garde and forward-looking approach to sound.
The group's stunning, unique and groundbreaking 1973 album ‘Grounation’, a mighty conceptual triplealbum (the first ever reggae triple!) is, similar to Marvin Gaye's 'What's Goin' On', a definitive allencompassing cultural statement of its time and place. A sprawling album of raw and unique cultural expression that combined Rastafari consciousness with deep spiritual jazz music – an absolute and essential classic of Reggae music.

The Mystic Revelation of Rastafari group came into existence at the start of 1970s, the union of two artists (and groups) of equal repute – Count Ossie and his African Drums and saxophonist Cedric ‘Im’ Brooks’ and his group,

The Mystics. Both Ossie and Brooks were alumni from the great Studio One Records. Master drummer Count Ossie and his collective of Rastafarian drummers performed for Haile Selassie on his
momentous visit to Jamaica in 1966. Cedric Brooks came out of the Alpha Boys School – the fertile breeding ground of musicians who dominated the Jamaican music scene from the 1960s onwards; Tommy McCook,

Don Drummond, Johnny Moore, Headley Bennett, Johnny Osbourne, Yellowman, Leroy Smart, Bobby Ellis, Joe Harriott, Eddie Thornton, Vin Gordon, Rico Rodriguez, Owen Gray, Leroy ‘Horsemouth’ Wallace and more.

The Mystic Revelation of Rastafari’s ‘Grounation’ is a massive opus, a work of profound musical genius that tells the story of Jamaica through music and words. The album is a cornerstone in the history of reggae, a unique and other-worldly album the like of which has never been made since.

Soul Jazz Records are releasing this long-revered album release in two unique vinyl formats: a one-off pressing limited-edition deluxe box set triple-vinyl edition complete with a free 45 single + art print + an exact-replica reproduction Mystic Revelation 1977 mag/zine + download code; And secondly as a triple album + download
code. There is also a deluxe 2 CD version
complete with large format booklet encased in
double-walled slipcase. All editions come with
extensive new sleevenotes, photography, exact
reproductions of the original text and artwork

Als renommierter Produzent, der für seine innovativen Produktionen und sein Gehör gelobt wird, ist Pete Rock weithin als einer der einflussreichsten Hip-Hop-Produzenten aller Zeiten anerkannt. Als Pionier der Verschmelzung von Jazz, Funk und Soul im Hip-Hop gilt er für viele als Wegbereiter einer gefühlvollen Produktion im Hip-Hop. Er revolutionierte die Rap-Produktion mit seinen Studiotechniken, machte Remixe wichtiger als Originalsongs, etablierte Ad-Libs als Standard für Aufnahmen ... und die Liste geht weiter. Pete Rock hat mit großen Namen wie Run-D.M.C, Public Enemy, J Dilla und Busta Rhymes etc. zusammengearbeitet und seine Arbeit als Produzent hat sich in über 25 Millionen verkauften Alben weltweit niedergeschlagen.

Probably you might think, is this a cover version of the Patrick Cowley’s classic? Somehow it is, but add Paolo Gozzetti on the production and Fred Ventura on the vocal and you really a banger for the dancefloor. This is one of the time that the cover brings an extra to the original. The 12” includes also the track No Guilt No Pride

"Nothing's Going Wrong" is Martha's sophomore album on Blind Faith Records, backed by the mighty Italian Royal Family and produced and mixed by Luca Sapio at Blind Faith Recordings studio. The super solid back beat and the lush horn arrangements evokes the golden era of the Italian movie soundtracks (inspired by Piero Piccioni, Ennio Morricone and Luis Bacalov). Lyrically the album is very much inspired by the socially and politically conscious records made by the likes of Marvin Gaye, Gil Scott Heron and Curtis Mayfield in the mid 70s. A hidden gem proudly shines through in the song ‘ I’ve Still Have A Lot To Learn’; Italian maestro Antonello Vannucchi (leader of the Marc 4 band and keys player behind thousands of iconic Italian soundtracks), has laid down a stellar Hammond B3 take on the melancholic ballad, sadly it was his very last recording session before passing away. Every once in a while an album comes along, and this is one of them, that is beyond what is currently fashionable at any given time, which evokes the best sounds of the soul golden era, combined with Italian soundtracks of the 60s; infuse them together and you get a funk/soul masterpiece, showcasing one of soul music’s most precious gems- Miss Martha High.

After just thirty four years! Prophet releases the follow-up to 1984's highly influential 'Right On Time', a holy grail among boogie / funk vinyl collectors (reissued by PPU).Album produced by Mndsgn.
Featured artists include Mndsgn and Nite Jewel.
File under Modern Funk / Soul / Boogie. For fans of Mndsgn, Thundercat, Doug Hream Blunt, Dam-Funk. Exclusive 24 x 36' poster included with the vinyl format. Here's hoping we won't have to wait so long for the next one.

Art has the power to mirror and capture its creators surroundings and environment. Art can also reflect something much more personal by offering us a glimpse of the artist’s mind. Hands Rest, the 2nd studio album by German composer and musician Aparde, does both. While reflecting the essence of Berlin’s club scene, in which Aparde undoubtedly is immersed in, the album also takes us to the depths of the musician himself, far from clubs and live sets, to a world that is both intimate and profound. “I think that I always process circumstances uncon- sciously in my music and that my way of thinking is full of internal conflicts,” he says. It is this duality, of an artist who is both entertaining Berlin’s nightlife through electronic sounds and delving deep into his own emotions through avant-garde pop, that epitomises Aparde’s work.


Hands Rest, which was created over the span of one year, has a cathartic feel to it, “the process was very diffused in terms of time, because over the past year my life circumstances have been very complicated and often frustrating, and I had to motivate myself again and again.” While he crafted the tracks, Aparde was in fact processing his own thoughts and feelings after the end of a long relationship, and listeners navigate through varying soundscapes that seem to accompany Aparde’s own internal commotions as he himself navigated a turbulent year. “It the break up was accompanied by numbness and repression. This was followed by a period of inactivity and the thought of ending my activity as a musician,” he tells.

If someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.

The star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm & Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as „Les Black Devils“, „Djinn-Music“, „Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this context that Ernesto would draw the inspiration for a future formula.

Returning to Côte d‘Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards & Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.
Ernesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come soon enough, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.

The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.

Re-pressed at last!! Limited purple vinyl. The cultural phenomenon that is the Wu-Tang cannot accurately be described without referencing one of the pillars in the Clan's discography, Chef Raekwon's Only Built 4 Cuban Linx remains firmly planted as one of the defining triumphs in their artistic legacy. The oft referred "Purple Tape", has been cited and debated by many as the greatest Wu-Tang solo project to date and a remains a bullet point in any discussion involving the greatest "Cocaine Rap" or "Street Hop" albums of all time. Raekwon's narrative, plays out like a movie script from the violent, drug fueled, underbelly of New York City's criminal landscape, intricately woven over instrumentals from the legendary mastermind behind the Wu-Tang Clan, The RZA. Even the album's main feature "Tony Starks aka Ghostface Killer", referred to as such rather described as a "guest star" appearing on 12 of the albums 18 tracks. It should be noted that while the Only Built 4 Cuban Linx did produce a string of successful singles, such as "Ice Cream", "Incarcerated Scarfaces", and "Criminology", like all classic cinema, the album was intentionally engineered to be appreciated in one sitting, played from beginning to end. In continuing with it's proud tradition of honoring historically significant hip hop albums, Get On Down is honored to present Raekwon's "Only Built 4 Cuban Linx" for the first time ever on double translucent purple vinyl housed in a high density resealable poly bag. This edition features for the first time ever on vinyl, the formerly CD only bonus track, "North Star (Jewels)". And if that wasn't enough, the entire album also features completely enhanced and painstakingly remastered audio. This is the definitive must-own vinyl edition of Raekwon's masterpiece.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a prolific phase of collaboration for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material.

Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, »Tan-Tan Therapy« was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and the excellent »Live Wanderus« (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group’s extended musical family. It opens with one of Tenniscoats’ signature songs, the pop fantasia of »Baibaba Bimba«, with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in »Baibaba Bimba«: uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy.

From there, »Tan-Tan Therapy« explores many hues of lustrous blue. »Oetu to kanki no Namoriuta (Given Song of Sob and Joy)« is an aquatic arbour, the musicians’ gentle performances growing together like vines and seaweed as Saya’s voice swims through the waterway. »Umbarepa!« is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. »Abi and Travel« floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; »Good B.«, an extra track originally only available on the Japanese edition of »Tan-Tan Therapy«, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido.

Throughout, you can sense the deep empathy the members of Tenniscoats and Tape have for one another. It’s a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness, with each of the players contributing to the community of sound they’re building. There’s an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of »Marui Hifo (Everyone)«, which echoes the seaside drift of Bristol post-rock group Crescent, and the following »One Swan Swim«, a dreamsong redolent of the sleepy sensorium of Robert Wyatt’s »Rock Bottom«.

The freedom and liberty at the heart of Tenniscoats is something Tape and their friends have picked up on, beautifully so, and run with during the entirety of »Tan-Tan Therapy«. This is music with its wings outstretched, wanting to take to the air, ready to fly.

Back In The World of Adventures Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Retropolis Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Stardust We Are Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Stardust We Are’ was the bands third studio album, and first double-album. It features the epic 25-minute title track which has since become one of the bands signature songs. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork. Flower Power Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Flower Power’ was the bands fourth studio album, and second double-album. It features the nearly 60 minute epic ‘Garden of Dreams’. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork.

Back In The World of Adventures Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Retropolis Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Stardust We Are Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Stardust We Are’ was the bands third studio album, and first double-album. It features the epic 25-minute title track which has since become one of the bands signature songs. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork. Flower Power Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Flower Power’ was the bands fourth studio album, and second double-album. It features the nearly 60 minute epic ‘Garden of Dreams’. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork.

Musicking is Old Time Relijun's tenth studio album.The record pounces fierce with the protest anthem "Break Through". Arrington De Dionyso's voice has gained some grit and even more gravitas. Like an overloaded speaker, he booms the words into the stratosphere. "Break through the wickedness, break through the lies, Break through the glass; don't stand in my way!" The band hits the groove and the vibe moves through the eleven songs swiftly - like Panther Juice and Rum. It does not stop, it does not let up, it does not let you sleep.Musicking is the latest example of the Old Time Relijun push and pull. They are the rarest breed of musical combo - - - insatiable, living raw, always on the margins, consistent as hell. You know what to expect, and yet haven't a clue what's coming next. Old Time Relijun conduct sweaty, compulsively danceable performances that never fail to inflame. Their songs are simple, but no one in the world could imitate them. Their albums are packed with sing-along hits mixed with sonic experiments and cosmic jests. The loose swagger belies years of practice, fastidious arrangements and a gut-level understanding of musical how and why.

In My Memory is a tribute to the 8 years that Nur Jaber lived in Berlin. A city of chaos, darkness and beauty all at the same time. As always, Jaber releases an EP that highlights vocals and collaborations with artists that coincidentally come into her life at a perfect timing. B1 is a collaboration with a German rapper that she met after one of her gigs in Leipzig; On the dancefloor at sunrise, she heard him rapping and instantly knew this was the next creation. After sending him the text she wrote during the pandemic (tired of all the rules, regulations & lack of dancing) he made some adjustments "Energie & Liebe" was created. A2 "In My Memory" brings power where you can feel Jaber's double personality of light and dark fighting each other brilliantly, which is also represented in her DJ sets. B1 is a banging remix from the one and only O.B.I. whose tracks are found in almost every one of her sets. Ending the EP on a melancholic & hopeful note, B2 introduces "Dance Dance (with the morning light)" with featured vocals from the artist herself. "I kept waking up singing these words, after a dream of us dancing under the moonlight in a big rave somewhere by the mountains." says Nur.

Long time supporters of Kniteforce will be well aware of the truly amazing series, Remix Records & Kniteforce presents ‘The Remix’s’, and here we have Part 17! All the records in this series are insanely good and this EP does not disappoint. To start we have the mighty Bay B Kane taking one of Phuture Assassins newer tracks and turning it into an amazing jungle track, using the original vibe and cranking it up to the maximum with a proper early Bay B Kane style. Next is an absolutely mental remix from Heavy Systems Inc. of an already mental track! One of NRG’s most insane tracks gets the rough and raw treatment that HSI is known for, drawing on the underground sound of 1992. The action doesn’t stop on the other side either! The living legend that is Austin takes an already hugely popular track from Sunny & Deck Hussy and absolutely sprinkles it with awesome. This is Austin at his best, and it shows how he has not missed a step in 3 decades of music production. Rounding out this installment is The BradderCase remix of Stu Chapman’s Rude Boy. The duo of BradderCase, aka Paul Bradley and The Lowercase, took this Stu Chapman track and flipped it on its head. Extracting the energy from the original and lighting a fire under it, showing that hardcore can be fun and serious at the same time.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.

The pertinency of the recordings only slowly appear On Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.

The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.

Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance.

Björk announces her tenth studio album Fossora -

each album always starts with a feeling that i try to shape into sound
the feeling was landing ( after my last album utopia which was all island in the clouds element air and no bass ) on the earth and digging my feet into the ground it was also woven into how i experienced the "now" this time around 7 billion of us did it together
nesting in our homes quarantining being long enough in one place that we shot down roots my new album "fossora" is about that
it is a word i made up it is the feminine of fossore ( digger, delver, ditcher ) so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end , we have 6 bass clarinets and punchy sub i would like to especially thank bergur þórisson and heba kadry and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet viibra and last but not least : sindri and dóa .

visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

Bobby Weir & Wolf Bros—consisting of Bobby Weir, Don Was, Jay Lane and Jeff Chimenti—are set to release their second batch of live recorded material this year. Bobby Weir & Wolf Bros: Live In Colorado Vol 2 is out October 7 on Third Man Records, a follow-up to the first volume of the critically acclaimed live performance collection. Bobby Weir & Wolf Bros: Live In Colorado, Vol 2 features more songs recorded at the band’s live performances at the historic Red Rocks Park & Amphitheatre in Morrison, Colorado and the Gerald R. Ford Amphitheater in Vail, Colorado on June 8, 9, 11, 12, 2020, including classic Grateful Dead hits, "Ripple" and "Brokedown Palace" along with covers of Merle Haggard and Marvin Gaye. These shows were the group’s first live audience concerts in over a year and featured Greg Leisz on pedal steel, along with The Wolfpack: Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown. “Been too long,” Weir said of the performances, “but I can’t think of a better place to pick it back up…” Live in Colorado, Vol 1, received acclaim from LA Times, Forbes, USA Today, Billboard and more. In their review for Volume 1, Pitchfork Says, "Weir's rootsy trio offer a more intimate reimaging of his former group's historic counter cultural songbook." Weir explains “I’ve been workin’ in my spare time on expanding the sonic coloration of the songs I do. The Wolfpack is basically a step toward full orchestration - and further, I gotta say, these guys are game. We worked on the arrangements a bit but eventually we needed to trot it all out and play it for folks - and right at that moment, the folks in Colorado reached out and told us they were gonna open up. Holy Shit, WTF? Let’s Go.” Bobby Weir and Wolf Brothers will be performing four nights at the Kennedy Center in Washing DC this fall. 8/4 - Announce/Pre-order w/ IG: Ripple 9/2 - 2nd IG: Other One 10/07 - STREET DATE w/ focus track: Brokedown

Ekin Fil returns to the guitar on Dora Agora. Her earliest recordings, notably her debut on Root Strata, prominently featured guitar in this urgent expressions of a dreamy dreariness that immediately offered enthusiastic comparisons to Grouper. In her development as composer of ephemeral ghostliness for numerous albums as well as her scores to film soundtracks, that instrument has given way to keyboards, organs, synths, and various mood engineering devices, in her beautifully melancholy pursuits of an emotional emptiness through sound. Yet, the pandemic era gave Ekin pause to reflect on her creative process and she picked that instrument back up to create one of her greatest albums to date.

As direct and urgent as these songs can be, Ekin swaddles her acoustic guitar chords in soft-focus reverb and polyphonous shadow, colored with a judicious amount of shoegazing drone and somber atmosphere that speaks to her continued development as a composer. "Ghost Boy" in particular is a bittersweet, wistful tune whose arrangement harkens to Johnny Marr at his peak of effortless downer simplicity. "Farba" and "Yo Feelings" turn the emotional screws with soul-crush crescendos of vocal melodies that build upon Ekin's lonely guitar chords. Again, Grouper emerges as one of Ekin's closest neighbors, alongside Carla Dal Forno, Slowdive's Pygmallion, and Movietone.

"I really feel like I've gone back to a time when I was recording songs with a guitar and keyboard when I was very young. It's kind of like embracing Ekin from that period with my current ideas & mood. it's an homage, it's a wave, a hug from my present to my past…" (Ekin Fil, August 2022)

It has been a long time coming as they say and now the second full length album from UK producer 2econd Class Citizen is ready for release. Having spent the past year collaborating with and remixing DJ Food, touring Europe with US artist cars&trains and remixing artists such as Loka and Dday One, 2econd Class Citizen also managed to fit in some studio time and is back with his signature sound on "The Small Minority", his follow-up to 2009's lauded "A World Without".

Anthology introducing the first of a series of albums based on the concept of Aquapelago.

‘’ Since the earliest days of the planet there has been a rhythm of tides that creates coastal interzones where humans have foraged and pursued various livelihoods. Developing boats to fish from and technologies that enabled them to immerse themselves deep underwater, the aquatic realm has been one explored, experienced and imagined in various ways. In an effort to express the vitality and richness of this environment I coined the term aquapelago in 2012. The wordplay was deliberate. The neologism was designed to distinguish the liquid inbetweenness of this space from the dry, scattered, lands of archipelagos.

The concept of the aquapelago coalesced around themes taken from various places. Epeli Hau’ofa’s idea of an Oceanic “sea of islands’” was formative but a number of songs were also inspirational. Torres Strait islander Seaman Dan captivated me with his experiences of pearl diving in the Darnley Deeps in his song ‘Forty Fathoms’ and Norfolk Islander singer Kath King imaged how sea-turtles might have experienced ecological change in her song ‘Tech me how fer lew’. Other reflections on watery realms also appealed. Debussy’s solo piano piece ‘La cathédrale engloutie’ soundtracked me as I researched myths of lost Lyonesse while Mike Cooper’s Kiribati, an ambient exoticist album about the imperilled archipelago (recently re-released on Discrepant), caused me to reflect on the social and cultural impact of sea level rise before that topic became a high-profile concern.

This compilation album takes the concept of the aquapelago into new depths and breaches it on fresh shores. The tracks are soaked with the aquatic. Bassy sonorities boom as if heard deep underwater. Bubbly textures breach the surface, water drips and seabirds soar high above waves. Sugai Kei samples fragments of text concerning the Ningen, a fantastic humanoid/whale that reflects the ‘aquapelagic imaginary’ of modern Japan and its preoccupation with industrial whaling. Andrew Pekler continues the orientation of his Phantom Islands project - a sonic atlas of imaginary places - with a soundscape as if heard by a swimmer just offshore, mixing sounds of the island and the sea together. Mike Cooper’s sonic reflection on Hong Kong’s Lamma Island is similar, combining the island’s ubiquitous barking dogs with the slurp of waves on rocky shores, conjuring a languorous time before Chinese crackdowns on the territory.

Taking another tack, the Dead Mauriacs gleefully water-ski through collage of tropical island exoticisms, replete with glitchy orientalism, while Babau combines skittering idiophone melodies with resonant glissandi. Vica Pacheco moves between dense and airy sounds, as if crossing between surf lines and the space above. Yannkick Dauby’s track is also imbued with in-betweenness, evoking ambient sounds heard through a ship’s hull. Sculpture’s ‘Froth Surfer’ realises its title, with bubbling sounds and rhythms that evoke Hawaiian surfing filtered through layers of time and distance. Reminding us of the shore necessary for aquapelagic spaces, Franceso Cavaliere and Tomoko Sauvage’s composition anchors the album, centred around shaken rhythms and resonant ringing tones and drones.

Taken together, the album sketches the contours of the aquapelago as it might be imagined and conjured in sound – an endless oceanic realm that laps on to beaches and crashes against cliffs. The performers navigate this space under alternately starry and cloudy skies, orientating themselves with sounds, textures and sonic samples of their terrestrial homes while we float with them. ‘’
Philip Hayward December 2021

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.

Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.

Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.

The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.

There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.

With more than 30 years in the game, D.I.T.C. affiliate Andre the Giant of Showbiz & A.G. fame continues to prove that his pen game is better than ever with the release of his latest full length effort, Giant In The Mental.

The album title is more than just a reference to one of his earliest tracks; it’s a statement that he remains head and shoulders above the competition like the rap giant that he is. And he’s proudly doing it all on his own with this record, without any guest appearances.

“I am really not moved by guest appearances,” A.G. explains. “Music for me is mostly therapy, and I don’t need anyone else to help me vent and express my thoughts.” He’s absolutely right, because across the 10 tracks on Giant In The Mental, he skillfully unpacks and tackles a number of different topics with his trademark wit and wisdom.

The Bronx rap legend straight-up kills it on every level, too, from clever wordplay to engaging storytelling raps. If you want his bully bars, just listen to the hard-hitting opening track, “Andre The Giant,” with speaker-thumping production from DJ Manipulator. And for storytelling, you can dig into the beautifully written and smooth “Summer School” or the cinematic and stirring “The Sphinx.”

It all amounts to a truly impressive and cohesive piece of work from A.G., who is eager to continue creating art until he can’t meet his own standards. “If I can’t perform at a high level then it’s time to stop!” he says before adding that pushing himself creatively is what this is all about for him. His integrity and passion for the artform is palpable, and it’s those qualities that have helped him remain such a necessary voice—and force— in music.

Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem. Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album. The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.” On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work. ‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve. Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy-nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

Seine Alben sind Welten, die Musikvideos legendär: Seit zehn Jahren ist Action Bronson der unverwechselbare HipHop-Held der Herzen. Heute veröffentlicht der in Queens geborene Rapper mit albanischen
Wurzeln, der zweifache ”New York Times”-Bestsellerautor, ehemalige Küchenchef und TV-Koch sein neues Album ”Cocodrillo Turbo” mit Features von u.a. Conway the Machine und Roc Marciano. Physisch erscheint das Album am 7. Oktober auf Vinyl &CD.

Auf dem Album ”Cocodrillo Turbo” kann man den neuen Hunger des 38-Jährigen spüren, der aufgrund gesundheitlicher Probleme während der Pandemie eine Bosstransformation absolvierte, über 160 Pfund abund das Kampfsporttraining aufnahm – und es so bis zum spielbaren Charakter in EA Sports ”UFC 4” schaffte. ”Ich habe nicht das Gefühl, dass mir der verdammte Respekt entgegengebracht wird, den ich verdiene”, erklärt Bronson, der auf ”Cocodrillo Turbo” seine Lines über Prog-Rock-Samples und gut abgehangene Beats von Produzenten wie Daringer und The Alchemist spuckt. ”Es gibt nicht viele da draußen, die mein verdammtes Suspensorium anfassen können.”

Auf ”Cocodrillo Turbo” taucht er tief in die psychedelische Schattenseite der amerikanischen Kultur ein. Wie ein Soziologe auf Säuretabletten. Wie Slavoj Žižek nach einem verdammt dicken Blunt. Das reptiloide
Albumcover stammt erneut vom Meister höchstpersönlich: ”Vertrau mir, wenn ich sage, dass es für keines
der Tiere da draußen sicher ist. Der alte Apexprädator ist wieder auf Beute aus.”

Portion out of control.

In a shocking act of extreme togetherness, and ruthless efficiency, a third Droid platter in one earth year.

The crack management team at Tape Man Enterprises have assured us this is not a temporary blip, more bacon donors will be flying through the cosmos...as sure as night follows day, thus proving that for some ineptitude can work as a lifestyle choice and pigs do fly.

Hopefully this humble offering can pierce the shitstorm of life and help replenish your joy batteries..

Join us next time for more of not the same.
Dem Idjuts

Seine Alben sind Welten, die Musikvideos legendär: Seit zehn Jahren ist Action Bronson der unverwechselbare HipHop-Held der Herzen. Heute veröffentlicht der in Queens geborene Rapper mit albanischen
Wurzeln, der zweifache ”New York Times”-Bestsellerautor, ehemalige Küchenchef und TV-Koch sein neues Album ”Cocodrillo Turbo” mit Features von u.a. Conway the Machine und Roc Marciano. Physisch erscheint das Album am 7. Oktober auf Vinyl &CD.

Auf dem Album ”Cocodrillo Turbo” kann man den neuen Hunger des 38-Jährigen spüren, der aufgrund gesundheitlicher Probleme während der Pandemie eine Bosstransformation absolvierte, über 160 Pfund abund das Kampfsporttraining aufnahm – und es so bis zum spielbaren Charakter in EA Sports ”UFC 4” schaffte. ”Ich habe nicht das Gefühl, dass mir der verdammte Respekt entgegengebracht wird, den ich verdiene”, erklärt Bronson, der auf ”Cocodrillo Turbo” seine Lines über Prog-Rock-Samples und gut abgehangene Beats von Produzenten wie Daringer und The Alchemist spuckt. ”Es gibt nicht viele da draußen, die mein verdammtes Suspensorium anfassen können.”

Auf ”Cocodrillo Turbo” taucht er tief in die psychedelische Schattenseite der amerikanischen Kultur ein. Wie ein Soziologe auf Säuretabletten. Wie Slavoj Žižek nach einem verdammt dicken Blunt. Das reptiloide Albumcover stammt erneut vom Meister höchstpersönlich: ”Vertrau mir, wenn ich sage, dass es für keines
der Tiere da draußen sicher ist. Der alte Apexprädator ist wieder auf Beute aus.”