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Contemporary DIY Street Soul, New Jack, Electro Funk studio project from Parisian DJ Raphaël Top-Secret & Antoine Kogut (Syracuse).

For lovers of Loose Ends, Larry Heard, Mad Professor, Strafe or Sade. This EP includes two smash-hit A-side remixes by LA and Vancouver underground celebrities Benedek and Pender Street Steppers (PPU / Mood Hut) that sound like 1986 or 1992 !

Original versions are found on the B-side with “Give It Up”, a smooth and romantic 112 bpm G-Funk jam that is the perfect track for your drive to the coast, while “The Way They Do …”, a 98 bpm dreamy electronic AOR indie-pop dubby, will take you to an island.

Using original vintage gear as the TR-808, Emulator II, DX-7 and Rhodes, electric guitar, studio bass arrangements, the release shows sophisticated skills in the production stages, while being a very refreshing pop and dance release.

A stunning debut for the Cachette label !

In the autumn of 2003, Flunk - then consisting of producer/vocalist Ulf Nygaard, singer Anja Øyen Vister, guitarist Jo Bakke and drummer Erik Ruud - booked in at the Hotel de Roubaix in Paris. The framework for their second album "Morning Star" was recorded during a busy week in the Paris hotel room, before being worked out and finished in their Oslo studio early 2004.

The album was licensed to Kriztal Recordings in the USA the following year, and their version of the album included five tracks not on the original Beatservice Records versions, and omitting the Kinks cover "All Day and All Of The Night".

On this expanded edition of the album, all of the US bonus tracks are included to the original Beatservice Records tracklisting, making it a 14 track album.

Two cover song are included: The Kinks' "All Day and All Of The Night", performed as a duet by Anja and Ulf. The cover is the most up-tempo track on the album, capturing the energy of the original Kinks' classic in Flunk's slightly odd way. There is also an acoustic live-in-studio version of New Order's "True Faith". But most of all "Morning Star" includes very strong original material. Both the title track "Morning Star", and the singles "On My Balcony" and "Blind My Mind" showcases the songwriting talents of Flunk.

The track "Play" didn't make it on the original release of the album. But the band did a total makeover of it for the US release, and the track ended up as the feature song in an episode of the show "The O.C.", and on the fourth "The O.C." compilation album.

Other tracks included from the US version of "Morning Star" are the beautiful "Probably" (originally recorded for the debut album "For Sleepyheads Only"), the New Order classic, "True Faith" (a different version than the b-side to "On My Balcony"), the poppy "Skysong" and the lush "All My Dreams On Hold".

"Folk electronica" has been used by a.o. american press to describe Flunk, and on the "Morning Star" album, they have evolved this further. The album is pure indie pop, less electronica - all tracks built around Jo's trademark guitar sound and the voice of Anja Øyen Vister.

"Morning Star" is an instantly tuneful pop injection, now further expanded and with a new superb sounding 2022 24-bit re-master.

Kids Return is first and foremost a great story of friendship since childhood between Adrien Rozé and Clément Savoye . It is between their small Parisian studio and a house suspended between the mountains of the Pyrenees that their pieces are born, then orchestrated by a string quartet in the countryside. From this trip was born a dreamlike and sensory music, a call to dream. Music that takes root out of time.

Forever Melodies is Kids Return's first album, it follows their first four singles, released between 2021 and today (Melody, Our Love, Orange Mountains, Forever). This album is ten skilfully refined pop tracks (“Some bands tell you 'We made 35 songs to keep 8', we made 10 songs to keep 10”) imbued with nostalgia, with an astonishing sincerity (breakups, stories of friendships, love, physical anguish, the transition to adulthood), a boundless love for dressing melodies. This album was orchestrated as a wonderful intimate journey, in space and time: the film of their lives.

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.

(Extended Reissue)

Double vinyl LP | Extended reissue
All tracks remastered from the original master tapes.

And here it is! For the first time ever, Zoo Folle in its full, extended glory.
This double LP contains both the soundtrack as released in 1974 (sides A and B) and previously unreleased gems (sides C and D).

Back in 2016 we put out the first official reissue of Zoo Folle. It sold out in a matter of months, leaving many vinyl collectors hungry for more. Quite serendipitously, the following year we found ourselves digging through Giuliano Sorgini's personal archives to prepare what would become Africa Oscura and stumbled upon a few mysterious reels that could be traced back to Zoo Folle. Imagine our joy when we realized that they contained the complete recording sessions of the original soundtrack, including unreleased material and never-before heard alternate versions! It was a no-brainer to start planning this extended reissue.

Already a phenomenon among collectors and experts, not only does Zoo Folle it keep winning more and more recognition, but, together with The Living Dead at Manchester Morgue and Under Pompelmo, it has established Sorgini as one of the great Italian composers of his generation.

And this is no coincidence. Zoo Folle is Sorgini's most committed and personal work. It reflects at once his beliefs as an animal rightist and his deep friendship with TV director and long-time collaborator Riccardo Fellini (brother of La Dolce Vita director Federico). It was Fellini himself who asked Sorgini to score his documentary on the living conditions of animals in zoos in Western metropolises (Rome, London and Paris in particular).

Originally broadcast by RAI in three primetime episodes, Fellini's exposé sharply contrasts the lives of caged animals with the freedom they experience in nature and wildlife reserves such as the Amboseli National Park in Kenya, Africa.

For his part, Sorgini offers perhaps his grandest score ever – a magnificent, multifaceted soundtrack that brings together a variety of instruments and the best musicians available at the time, from the lavish string orchestra recorded at the Fono Roma studios (a dream come true for someone who had not penetrated the inner circle of A-list composers like Morricone), to the angelic voice of Edda Dell'Orso, who conveys the sweetness and melancholy of the African sunset in Red, Old Skies.

Also performing on the soundtrack are exquisite soloists – all long-time friends of the composer. Nino Rapicavoli, for instance, whose flute adds a magical touch to the psycho-funk of Mad Town and the groove of Slaves, as well as Enzo Restuccia, whose afro-tribal percussions have made Ultima caccia a legendary track especially among lovers of Balearic grooves, and Enrico Ciacci, whose classical guitar soars beautifully over the nostalgic and poignant Chains. Not to mention the fact that Sorgini himself laid down the foundation tracks for the album in the small studio he had in the Prati neighbourhood in Rome, playing the piano, drums and several synthesizers.

So, what are you waiting for? Get your turntables ready for the full version of Amboseli (14 minutes of sheer bliss versus less than 6 in the original record) and for stunning, previously unreleased alternate versions of many other themes composed by Sorgini to celebrate the beauty of the savannah.

- 2022 repress -

Dysphoria I Euphoria" is Parisian duo Kas:st's first large-scale project, Kas:st being the techno alias of label owners Ka One & St-Sene. By splitting this release into two double, consecutive EPs (FLY007 and FLY008), they wish to convey their vision for a modern techno, one at once hypnotic and dancefloor-oriented. To do so, they surrounded themselves with eight high profile remixers all sharing in the label's musical identity: Deepbass, Shlomo, Hvl and Re: Axis for the first EP; Luke Hess, Anetha, AWB and Setaoc Mass for the second one. Three more tracks will be available on free downloads via the Flyance's records Bandcamp's page. The goal of thoses three tracks is to give the possibility to expand the release and to offer to the peoples some tracks that can't be dissociate to the vinyl release. Indeed it will be an Intro (Enter), an Interlude (Transition State), and an Outro (Exit).

Saxophonist, composer, bandleader and innovator Camilla George makes a stunning return with her third album 'Ibio-Ibio' - a rich, cultural journey dedicated to her Ibibio tribe of south eastern coastal Nigeria, out on Ever Records / !K7. The album is a heady mix of afrobeat, hip hop and jazz coproduced by Camilla George. Across eight tracks, Camilla's virtuosic alto saxophone performance collaborates with a stellar line-up of some of the hottest players in London's jazz scene including Daniel Casimir (bass), Shirley Tetteh (guitar), Winston Clifford (drums), Sheila Maurice-Grey (trumpet), Rosie Turton (trombone), Renato Paris (vocals), Sarah Tandy (keys), plus Senegalese kora player Kadialy Kouyate, acclaimed US drummer Daru Jones (Jack White, Pete Rock, Talib Kweli), and Birmingham's finest MC Lady Sanity.

Saxophonist, composer, bandleader and innovator Camilla George makes a stunning return with her third album 'Ibio-Ibio' - a rich, cultural journey dedicated to her Ibibio tribe of south eastern coastal Nigeria, out on Ever Records / !K7. The album is a heady mix of afrobeat, hip hop and jazz coproduced by Camilla George. Across eight tracks, Camilla's virtuosic alto saxophone performance collaborates with a stellar line-up of some of the hottest players in London's jazz scene including Daniel Casimir (bass), Shirley Tetteh (guitar), Winston Clifford (drums), Sheila Maurice-Grey (trumpet), Rosie Turton (trombone), Renato Paris (vocals), Sarah Tandy (keys), plus Senegalese kora player Kadialy Kouyate, acclaimed US drummer Daru Jones (Jack White, Pete Rock, Talib Kweli), and Birmingham's finest MC Lady Sanity.

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music. One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record. Officially reissued for the first time. By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record "Olvídate" set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968. In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company's name was included in the title of the record. For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix "El maravilloso mundo de Ingeson", It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding_ Although it's often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism. Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels' verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations. Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure_ "El maravilloso mundo de Ingesón" is one of the most brilliantly whacked-out psych LPs to emerge from South America.

A violin, a fife, and the endless sky opens up to us. Two voices cross it, a duet of swallows playing their perpetual encounters, joined by percussion that crashes like waves on jagged coasts. This is the opening of the album Déliryom, the beginning of this "watia watia" - meaning joyful mess or tasty mishmash, opened by six "zoreys": in Reunion Island Creole, it means metropolitan people from France. But these zoreys claim their creolity as a family of the heart, a chosen homeland. And they celebrate it. Rosemary Standley (Moriarty) and Marjolaine Karlin met at a concert where Reunionese maloya was resounding in Paris. It was in 2008, and their fascination for the island, its rhythms, its language born for poetry was bound to bring them together. A character too, a majestic poet and celestial wanderer, who for them would be a spiritual father - Alain Peters. Or rather his ghost, since he died in 1995 of a heart attack, leaving behind a daughter and some twenty songs that have shaped a fertile horizon for all the musicians of the Reunion Island... and elsewhere! Six years after giving birth to their first album (Zanz in Lanfèr, 2016), the two singers continue this great journey, exploring other pieces forged over the years, always alongside percussionist and rhythm doctor Salvador Douézy, and new zoreys who have joined them. There is Gérald Chevillon, who plays bass saxophone, Chadi Chouman as a guitarist who has no equal in awakening the colors of his native East, and finally Jennifer Hutt, whose energetic violin evokes the Cajun colors of New Orleans. For even if this new album tells of other facets of the Peters totem, it also ventures towards other Creole lands, other islands where music and song are much more than entertainment: they are a way of being in the world.

"Renaud Capucon ist eine der brillantesten
Musikerpersönlichkeiten Frankreichs", schrieb der
Kultursender Arte über den facettenreichen Violinisten. Mit
der Geige in der Hand leitet er sein Orchestre de
Chambre de Lausanne - so auch für das gemeinsame
Album Vivaldi Les 4 Saisons . Hier verbindet Capucon
das wohl berühmteste Werk Vivaldis, Die vier
Jahreszeiten, mit zwei Violinkonzerten des heute fast
vergessenen Komponisten Joseph Bologne Chevalier de
Saint-Georges.
1745 in Guadeloupe geboren als Sohn eines
Plantagenbesitzers und einer Sklavin aus dem Senegal,
sorgte Chevalier de Saint-Georges als Musiker in Paris
für Furore - als Komponist, Violinist und Leiter eines der
damals führenden Orchester der französischen
Hauptstadt. Scherzhaft wurde der Liebling der Pariser
Gesellschaft auch "schwarzer Mozart" genannt, weil seine
Werke im Stil an den zehn Jahre jüngeren genialen
Kollegen erinnern (vermutlich aber ließ der junge Mozart
sich von den Werken des Älteren inspirieren). Den
Violinkonzerten Saint-Georges' lässt Renaud Capucon die
einfallsreiche und effektvolle Programmmusik Vivaldis
vorausgehen. In Die vier Jahreszeiten verleiht der
Barockkomponist Naturphänomenen musikalisch Gestalt,
vom Vogelgezwitscher über Gewitter bis hin zu Schnee
und Eis. Eine willkommene Gelegenheit für den
Star-Violinisten, einmal mehr seine brillante Technik und
Ausdruckskraft unter Beweis zu stellen.

To coincide with the Brian Jonestown Massacre’s start of their 2022 European tour is the release of two new tracks by the band. Recorded in Berlin & remotely between 2020 & 2021, the opening track “Fudge” is from the forthcoming album “The Future is Your Past” the second track “The Future is Your Past” is exclusive to this release (Yes I know it’s not a typo the B side is the name of the forthcoming album but the track is not on the album). With Anton Newcombe (Vocals/ Guitars) Hakon Adalsteinsson (guitar), Hallberg Daði Hallbergsson (bass), & Uri Rennert (drums) playing on this offering . The release comes in a heavy weight PVC bag with the artwork being a J card so you can see the vinyl 10” - Tracklisting SIDE A – Fudge SIDE B – The Future is Your Past European Dates – 2022 - 25/09 FRANCE Nancy – L’Autre Canal , 26/09 FRANCE Grenoble – La Belle Electrique , 27/09 FRANCE Toulouse – Le Bikini , 28/09 SPAIN Barcelona – Apolo , 29/09 SPAIN Madrid – La Paqui , 30/09 SPAIN Bilbao – Kafe Antzokia , 01/10 FRANCE Bordeaux – Le Vigean , 02/10 FRANCE La Rochelle – La Sirene , 04/10 FRANCE Paris – La Trianon , 06/10 THE NETHERLANDS Nijmegen – Doornroosje , 07/10 GERMANY Cologne – Luxor , 08/10 SWITZERLAND Zurich – Mascotte , 09/10 GERMANY Munich – Strom , 10/10 CZECH REPUBLIC Prague – Lucerna Music Bar ,11/10 GERMANY Dresden – Beatpol , 12/10 THE NETHERLANDS Amsterdam – Paradiso , 14/10 BELGIUM Antwerp-Desertfest 2023- 28/01 U.K Falmouth – Princess Pavilions , 29/01 U.K Bristol – SWX ,31/01 U.K Brighton – Concorde 2 , 01/02 U.K Brighton – Concorde 2 , 03/02 U.K Birmingham – Academy 2 , 04/02 U.K Manchester – Ritz 05/02 U.K Glasgow – Barrowlands, 06/02 U.K Edinburgh – La Belle Angele , 07/02 U.K Newcastle – Riverside , 09/02 IRELAND Dublin – Academy , 10/02 U.K Belfast – Limelight 2 , 11/02 U.K Liverpool – Camp & Furnace , 12/02 U.K Nottingham – Rescue Rooms ,14/02 U.K Leeds – Stylus , 15/02 U.K London – Forum , 18/02 GERMANY Hamburg – Knust , 19/02 DENMARK Copenhagen – Amager Bio , 20/02 SWEDEN Gothenburg – Pustervik , 21/02/23 SWEDEN Stockholm -Slaktkyrkan , 22/02 NORWAY Oslo – Rockefeller , 23/02 SWEDEN Malmo – Moriska Paviljonen , 25/02 GERMANY Berlin – Festsaal Kreuzberg

Genteel, springlike sounds emanate once more from Paris. Those who live there or have visited will know a joy in this that non-residents or travelers can only imagine, but one senses that there’s a texture to it all that bakes into the human experience when winter finally lifts and trees blossom, warm breezes blow. After being stuck at home for two years, once the weather picks up and the world hopes to shift back in gear without millions of deaths, one’s imagination begins to run. Parisian duo Zusammen Clark have codified this sound of openness and warmth using known goalposts of sound – the subtle drag of these sturdy, easygoing songs, a direct path from Jean-Charles Delarue’s previous outing in Bruit Direct outfit City Band; the descent of chord structures, a deep voice going high and staying louche. Maybe a bit of Felt’s cherry red pastoral, shades of that time in speculative fiction where Pavement signed to Postcard (remember? it was the same year that Dandelion and Les Temps Heureux got out of bed and toured coffeehouses together), the Go-Betweens just before the wheels fell off, or NYC underdogs Plates of Cake. Horns swoop in at the right moments and don’t linger. Hooks lock in and down, lead guitar casually doubles itself. Hair gets done, stubble let fashionably go. Along with bandmate and cousin Jerome Lemee, Delarue constructs a frame, pencils in the outline and begins decorating these songs with all the right touches and a confidence that knows where to place them, not just the value of the objects. This is a world of sound where everything has a story and a place, every room can provide a closet mix. It’s a world that opens into a larger world, a human world, maybe a world these two knew from childhood, maybe one they’ve built for themselves. Earlier is too well-assembled to not have a foundation in profoundly comfortable moments in life, and the knowledge of how to get there, even if one knows they can never stay. It’s a catalogue of delight, impossible to oversell. – Doug Mosurock TRACKLIST: A1 - Magyar A2 - Animals & Evidence A3 - Rest Position A4 - Swim In A Blue B1 - Parallel Lines B2 - Ho Chi Minh B3 - The Postcard B4 - Own Company

It’s a new day – and 2022 marks a very special new chapter for Parisian producer Hugo LX, who delivers his latest sound offering on his freshly founded imprint Doma Music.

A collective adventure, « The Platinum Wave » sees the return of Hugo’s most frequent collaborators – trumpeter Hermon Mehari and guitarist Christopher Johnson, with the addition of pianist Tony Tixier – the four of them connecting, building and weaving their sonic textures over these five sound cuts.

A starting point in the Doma music catalogue, « The Platinum Wave » aims to propose a different sound in dance music, both a continuation of a certain musical legacy and an exploration of today’s boundless possibilities, as much as an intimate soundscape from four artists deeply involved in the Paris creative scene – and most definitely, a first taste of things to come on the label.

Anthology of some the earlyest french Hardcore producers.
Featuring Yann Dub from Brest, who passed away 10 years ago in Barcelona playin guitar in the a bar... Peace to him and his familly.

Playing experimental music since the 90's, creating "Reverse Studio" in Paris in Y2K (we did a lot of cut with him...) and then moving away to Barcelona, cutting again... His brother took over with DK Mastering studio... His cutting machine is now in Belgium at Angström Studio... The story continues...
Explore Toi is Explore Toi Crew. Also early french Hardcore music producer, golden age where musicians were nameless... Everybody knows his label(s) as a CYBER Hardcore pure creation... Visual and musical artist.
Alive and kicking, active !

Big respect for this high ranking production, with locked grooves and remastering.

All tunes are improvisations from the 90's.

Don't miss !!!

Joni Mitchell was at a turning point 50 years ago. After making four acclaimed albums with Reprise Records, including her 1971 masterpiece Blue, she left the label to join the brand-new Asylum Records in 1972. Over the next seven years, Mitchell would record some of the most acclaimed music of her career while changing her musical direction by adding more jazz elements into her song writing. The evolution culminated in 1979 with Mingus, her collaboration with jazz titan Charles Mingus, and her studio last album for Asylum.

The Asylum Albums (1972-1975), the next instalment in the Joni Mitchell archive series, explores the beginning of that prolific era. The collection features newly remastered versions of For The Roses (1972), Court And Spark (1974), the double live album Miles Of Aisles (1974), and The Hissing Of Summer Lawns (1975). All four were recently remastered by Bernie Grundman. The Asylum Albums (1972-1975 will be available on 23rd September on 5-LP 180-gram vinyl (Limited Edition Of 20,000) and as a 4CD set. The cover art for the set features a previously unseen painting by Mitchell. The set also includes an essay by friend and fellow Canadian Neil Young.

The Asylum Albums (1972-1975), follows Mitchell’s musical evolution over four albums as she embraced more jazz-inspired pieces and moved away from the folk and pop of her early years. It includes essential tracks like her first Top 40 hit, “You Turn Me On, I’m A Radio” and her highest-charting (#7) single “Help Me,” plus favourites like “Free Man In Paris,” “Raised On Robbery” and “In France They Kiss On Main Street.” Mitchell has been intimately involved in producing the collection, lending her vision and personal touch to every element.













l b6. Judgement Of The Moon And Stars (Ludwig’s Tune) 2022 Remaster











[x] e1. You Turn Me On I’m A Radio (Live) [2022 Remaster]
[y] e2. Big Yellow Taxi (Live) [2022 Remaster]
[2022 Remaster]
[xa] e4. Woodstock (Live) [2022 Remaster]
[xb] f1. Cactus Tree (Live) [2022 Remaster]
[xc] f2. Cold Blue Steel And Sweet Fire (Live) [2022 Remaster]
[xd] f3. Woman Of Heart And Mind (Live) [2022 Remaster]
[xe] f4. A Case Of You (Live) [2022 Remaster]
[xf] f5. Blue (Live) [2022 Remaster]
[xg] g1. Circle Game (Live) [2022 Remaster]
[xh] g2. People’s Parties (Live) [2022 Remaster]
[xi] g3. All I Want (Live) [2022 Remaster]
[xj] g4. Real Good For Free (Live) [2022 Remaster]
[xk] g5. Both Sides Now (Live) [2022 Remaster]
[xl] h1. Carey (Live) [2022 Remaster]
[xm] h2. The Last Time I Saw Richard (Live) [2022 Remaster]
[xn] h3. Jericho (Live) [2022 Remaster]
[xo] h4. Love Or Money (Live) [2022 Remaster]

Popa Chubby stands before a sold-out crowd in Paris at l'Olympia - The
theatre where Hendrix, Miles, The Beatles and so many greatsplayed - He
tells the audience : "Je T'aime Mes Amis" !"I love you my friends" and in
that moment it's like the pandemicnever happened.Popa has not stopped
working
He followed the 2020 release celebrating his 30thanniversary ("It's A Mighty Hard
Road") with an introspective outing reflecting his timeat home : "Tinfoil Hat". The
year that has followed has lead to more upbeat themes andtimes. This is strongly
reflected on his latest recording, "Emotional Gangster", out worldwide on
Dixiefrog records on March 2022.And indeed the emotions run high on this
recording. 11 tracks featuring The Chubbfatha on many instruments and doing all
the mixing and recording duties. "Thisrecord definitely reflects happier times and
good solid dose of classic blues !" Says Popafrom his studio full of guitars in the
Hudson Valley. "I specifically included covered like"Hoochie Coochie Man" and
"Dust My Broom" to show respect for the Fathers. WillieDixon has always been my
idol you know".But the real gems here come in Popa's original compositions.
"Equal Opportunity"is a light-hearted sing along that celebrates the feminine at a
time when it is seriouslyneeded. And songs like "Fly Away" and both French and
English versions of "Why YouWanna Make War?" are big standouts !There is more
than an ample amount of pure guitar bliss on this record and slideguitar on tracks
like "Tonight I'm Gonna Be The Man" add flavor to a savory mix ! For an added
bonus Harmonica Wizard Jason Ricci joins Popa on the Blues Rockanthem "New
Way Of Walking" and the swing shuffle "Best For Last".Popa has been given many
accolades in a 30 years career. He shuns recognitionand has little use for awards
as he says it just gets in the way of the music. This has notstopped his last 3
outings from reaching the Billboard Blues Charts. He has also beengiven the
prestigious Red Rooster Award by Willie Dixon's family and been nominatedfor a
Grammy and a W.C. Handy Award.With "Emotional Gansgster Popa puts his heart
on the line and makes a play tosteal yours !

Combining powerful and heartfelt vocals with thundering guitar riffs, Essex-based Blues Rock band When Rivers Meet offers originality with both talent and winning personalities. Grace Bond leads with her incredible vocals, as well as bringing ranched-up mandolin and violin instrumentals. Her husband Aaron Bond commands attention with his imaginative guitar and cigar box playing and complements with compelling vocal harmonies… a winning formula. Since bursting on to the UK music scene with their debut The Uprising EP in April 2019 followed by their second EP Innocence of Youth in May 2020, husband and wife Grace and Aaron Bond have released two critically acclaimed studio albums We Fly Free (2020), followed by their sophomore album Saving Grace (2021). When Rivers Meet were the first band to win four awards at the UK Blues Awards 2021 and another three awards in 2022, including “Blues Band of the Year” on both occasions. Last year WRM were voted Best New Band at Planet Rock’s The Rocks Awards 2021, and in 2022 won the “Blues Power Award” and “Album of the Year” (Saving Grace), beating Iron Maiden who came second place. In 2021, the husband-and-wife duo show their chemistry on stage, performing 17 dates along with powerhouse bass and drums on their first UK Headline Tour to mostly sold-out crowds, receiving rave reviews for their captivating stage presence and blistering performances. Tour dates: 14-Oct / Cardiff Clwb Ifor Bach - 16-Oct / Gloucester Guildhall - 21-Oct / Huddersfield The Parish - 23-Oct / York The Crescent - 27-Oct / Southend-on-Sea Chinnerys - 29-Oct / Liverpool Arts Club - 30-Oct / Milton Keynes The Stables The E.P


Track listing:
(The Uprising EP): Freeman; Like What You See; Tomorrow; Kill For Your Love

(Innocence Of Youth EP): Innocence Of Youth; A Dead Man Doesn’t Lie; My Babe Says That He Loves Me; Fire; Want Your Love We Fly Free: Track listing: Did I Break The Law; Bound For Nowhere; Walking On The Wire; I'd Have Fallen; Battleground; Kissing The Sky; Breaker of Chains; I Will Fight; Bury My Body; Take Me To The River; Friend of Mine; We Fly Free Saving Grace: Track listing: I Can't Fight This Feeling; Never Coming Home; He'll Drive You Crazy; Don't Tell Me Goodbye; Do You Remember My Name; Have No Doubt About It; Eye of The Hurricane

(Friend of Mine pt.2); Testify; Shoot The Breeze; Lost & Found; Talking in My Sleep; Make A Grown Man Cry Flying Free Tour Live: Track listing: Did I Break The Law; Walking On The Wire; My Babe Says That He Loves Me; Battleground; Don't Tell Me Goodbye; Free Man; Lost & Found; Innocence of Youth; Bury My Body; Tomorrow; Kissing The Sky; Want Your Love; Testify

Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.

Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was “Histoire de Melody Nelson” by one Serge Gainsbourg. An inimitable, 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven sent, 1001 piece orchestral and choral symphony. The album left hip hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own… or was it?

The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil…

For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.

So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of “L’Enfant Assassin des Mouches” in each section.

History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story “The Child Assassin Of The Flies” was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. The CD also includes the bonus track “Je M’ Appelle Geraldine”, a beat heavy John Barry-esque track taken from Vannier’s super-rare 7? EP “Point D’Interrogation”.

DJs and Producers such as Jim O’Rourke, Stereolab’s Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as ‘One Of The Best’. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community.

Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep. Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro. Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz-Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks. As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others. Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003. The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'. This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with.

Think about the classic from MAW "Work", Reel to Real "I like to Move it"... TROPICAL FLASH "Get up" has the same vibe and the same kind of potential on the dancefloor !

This is a truly essential for the coming summer, percussive rhythm and expressive Jamaican vocal style. Funky, efficient and with an organic feel due to the bass guitar and percussion.

Along both original mixes features a really cool remix by the NYC Legend DJ Spinna, this time Spinna did not produce a soulful house track but a real massive House Remix with some heavy 90’ influences, really sick! The 12'' has been cut by Mathieu Berthet so expect a very nice cut, the full picture sleeve has been manually designed by Felix Godefroy and is really colourful, it makes a very nice 12'' with good pressing quality on 140g from Vinyl de Paris.

This album presents two multichannel works recorded at the seminal INA GRM Studio in Paris and ZKM Institute in Karlsruhe respectively, mixed to stereo at the composer's Cellule 75 Studio in Hamburg with excellent mastering by Rashad Becker. While his releases under the Black To Comm moniker often touched the fringes of acousmatic techniques and Musique Concrete this is Richter's first foray into a more abstract spatial music.

Recorded in the week leading up to the Paris terror attacks at the GRM studio, "Diode, Triode" (21:57) is loosely based on a reading of (and, in parts, a failure to understand) "Le Parasite" (1980) by Michel Serres, a philosophic metaphor about human interaction and communication (which can also be interpreted as a lyrical essay on capitalism; part confusion, part enlightenment).

As core elements Richter is using speech synthesis and the transformation and distortion of concrete sounds, instruments, voices and breathing. Abstract incognisable sounds are combined with strings, reeds and percussion while dismembered musical fragments emerge and vanish rapidly. Chunks of interfering noise are followed by long periods of silence; chaos and order are alternating. Choirs of synthetic and processed human voices are recounting stock market values, seemingly random sequences of numbers and inscrutable lyrics while parasitic sounds are trying to crack, collapse and fractionise the compositional stream and sonic interactions. Finally, a haunting piano chord is wrestling with a broken Publison machine. Like the book, it's part confusing, part enlightening - and a radical piece of sonic art.

"We are buried within ourselves; we send out signals, gestures, and sounds indefinitely and uselessly. No one listens to anyone else. Everyone speaks; no one hears; direct or reciprocal communication is blocked." (Le Parasite)

"Diode, Triode" was premiered on the Acousmonium at INA GRM's Akousma Festival in Paris, January 22, 2016 alongside new works by François Bayle, Robert Hampson, Leo Kupper and Ragnar Grippe.

The second piece "Spiral Organ of Corti" (17:00) has been composed in 2014 for the 47-speaker Klangdom concert hall at ZKM Karlsruhe at the foot of the Black Forest (where Richter was born and raised).

How does one listen with closed ears? Sine tones, alienated human voices and breathing noises build a labyrinthine puzzle alternating between the natural and the artificial. Human sounds merge with winds and strings, sine tones morph into metal sounds. Acoustic illusions confuse the listener, and dense noise-clouds slowly emerge from deceptive silence. Deep base sounds define space. Temporary focus glides into chaos. "Spiral Organ of Corti" is yet another extended composition that proves Richter is on a path of his very own.

"Spiral Organ of Corti" is dedicated to the late Gary Todd.

"Tongues that came from wind and noise. To speak in tongues after the fire." (Le Parasite)

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and under the Mouchoir Ètanche and Jemh Circs monikers for his own Cellule 75 imprint. He collaborated with visual artists such as Ho Tzu Nyen, Jan van Hasselt and Mike Kelley. Under his own name he is composing for film and installations.

Middle Eastern psych-rock collective Al-Qasar"s debut album is an explosive mix of heavy Arabian grooves, global psychedelia and North African trance music. The band calls it "Arabian fuzz." Brazenly electric yet deeply connected to their roots, guests include Lee Ranaldo (Sonic Youth), Jello Biafra (Dead Kennedys) and Alsarah (Alsarah & The Nubatones). Mixed by Alain Johannes (Queens of the Stone Age, PJ Harvey). Al-Qasar was born in the Barbès neighbourhood of Paris," explains band leader Thomas Attar Bellier. "I"ve lived in Los Angeles, Paris, New York, Lisbon... I wanted to start a project that was in tune with the daily life of people living in these international cities, something diverse, radically colourful, with a fresh, contemporary outlook on what societies really look like today". The musicians came together from France, Morocco, Algeria, Egypt, and the United States. Shows followed, first in France, then in Europe and the Middle East. They put out an EP, the widely-lauded Miraj, recorded in Cairo. In the same time frame, Attar Bellier collaborated with the likes of Emel Mathlouthi and Dina El Wedidi, two of the most exciting names in contemporary Arab music. Drawing on years of experience working in Los Angeles studios, Attar Bellier produced the album. Who Are We? translates the sound that inhabited his head into something physical that stirs spirit, heart and feet. It is relentless and insistent, like a psychedelic celebration on the dancefloor, bristling with the kind of deep energy that makes Al-Qasar sound like the world"s most dangerous wedding band. During those years spent behind the control board, Attar Bellier made some good friends in the US, and they"ve been eager to help out on the project. Alain Johannes (Queens of the Stone Age, PJ Harvey) mixed the record, and Grammy-winner Dave Collins mastered it. The Dead Kennedys" Jello Biafra was a natural addition to "Ya Malak," his inimitable voice reciting a translation of Egyptian revolutionary poet Ahmed Fouad Negm, elevating the record"s social critique while showcasing the first-ever English recording of Negm"s work. Jello Biafra is not the only punk hero to appear on Who Are We? Lee Ranaldo of Sonic Youth layers textured, brooding guitar over the first two cuts, "Awtar Al Sharq" and "Awal." The sweeping drones embrace the Moroccan bendir groove to magical results. "Lee sent me upwards of eighteen guitar tracks," says Attar Bellier in amazement. "It was enough for an entire EP, and all so good. The hard part was deciding what not to use. Lee"s vibe just fit perfectly with what I was trying to do with the track." Who Are We? is an exhilarating album. Its intensity never wavers, music that pulls from the hypnotic roots of North African trance and threads it into a fabric with the elaborate beauty of Arabic scales and the shock and thrill of rock"n"roll. It is modern folklore, a reflection of the cross-cultural societies we"ve become.

If the name Seb Martel is still unknown to you, the guitarist appears on the credits of classic albums from Tony Allen, Femi Kuti, Morcheeba or Blackalicious. Saturn 63, his new album on InFiné is dedicated to the exploration of the electric guitar in all its nuances. This new opus made from a selection of 9 guitars from the Musée de la Musique (a branch of the Philharmonie de Paris), and only enriched with the voices of his close collaborators (Camille, Sabrina Bellaouel...), unfolds on fourteen tracks a musical fresco faithful to the historical and geographical heritage of his instrument. The album includes fascinating reworks of Carl Perkins, Benjamin Britten, Chavela Vargas or Vincent Segal in addition to his own compositions. However, adopting a dogmatic approach, and dressing his compositions with sounds and effects collected during the recordings, Martel offers an abstract and experimental edge to Saturm 63, which transports the listener into an out of time experience. Two famous names of the French Chanson, -M- and Mathieu Boogaerts joined Martel to close the album with the snapshot of a speechless improvised session.

Jesca Hoop returns with her sixth album, Order of Romance, a record that fortifies her position as one of the most striking and original voices in contemporary music. Order of Romance is Hoop's most intricate and finely balanced album to date, one that draws on classic song writing, recalling anything from Gershwin to Paul Simon, but creating something that is unmistakably, indelibly Jesca Hoop. It is a deep dive into craft. In the summer of 2021, Hoop once again ventured south from her adopted home of Manchester to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding), her collaborator for 2019's Stonechild. This time additional assistance came from in Jess Vernon (This is the Kit) to arrange for a four-piece horn and woodwind quintet. Legendary drummer Seb Rochford lent his skills, John Thorne plays the bass and Chloe Foy and Rachel Rimmer were enlisted to deliver Hoop's signature vocal arrangements. The result is a fruitful marriage of song craft and arrangement, brimming with a cinematic charm and lyrical wit that signify a new chapter full of new life for an artist who knows her mind, her heart and voice well enough to trust them in uncharted territory.

Jesca Hoop returns with her sixth album, Order of Romance, a record that fortifies her position as one of the most striking and original voices in contemporary music. Order of Romance is Hoop's most intricate and finely balanced album to date, one that draws on classic song writing, recalling anything from Gershwin to Paul Simon, but creating something that is unmistakably, indelibly Jesca Hoop. It is a deep dive into craft. In the summer of 2021, Hoop once again ventured south from her adopted home of Manchester to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding), her collaborator for 2019's Stonechild. This time additional assistance came from in Jess Vernon (This is the Kit) to arrange for a four-piece horn and woodwind quintet. Legendary drummer Seb Rochford lent his skills, John Thorne plays the bass and Chloe Foy and Rachel Rimmer were enlisted to deliver Hoop's signature vocal arrangements. The result is a fruitful marriage of song craft and arrangement, brimming with a cinematic charm and lyrical wit that signify a new chapter full of new life for an artist who knows her mind, her heart and voice well enough to trust them in uncharted territory.

Micah is a special one. His playing has a restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music – all delivered with curiosity, patience, humor and care. I make a point to hear him as often as I can, as he always inspires and is constantly evolving. Micah is one of the most exciting musicians of his generation. One who has a unique style as well as all the tools needed to make a major contribution to the world of jazz piano.

"When we decided to produce Micah Thomas, the project involved a recording of five titles only. In the first part of an approximately one hour session, Micah beautifully played first takes of up to ten titles, with fantastic artistic fervor and great freshness. Taken by surprise, joy and admiration, we decided on the spur of the moment to change our initial plans, so we could capture the magic of that

session for a little longer. Here is the result, a 12 titles double vinyl that takes you back to October 31st, 2020 at Big Orange Sheep studio in Brooklyn, NY. Twelve songs when we encountered the art of Micah Thomas as a solo pianist for the first time."

Limited Pressing.

Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!

Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.

Mit ihrem Berlin-Umzug Mitte der 1970er Jahre wollten David Bowie und Iggy Pop nicht nur für einige Jahre den Lebensmittelpunkt ins Zentrum Europas verlegen, sondern auch musikalisches Neuland erkunden. Auf ihren Trips nach Paris oder Warschau ließen sie sich von neuer, europäischer Musik inspirieren die so ganz konträr zu der grassierenden Disco-Welle in den USA war. 16 dieser Tracks sind nun von St. Etienne's Bob Stanley und Jason Wood (u.a. 'English Weather') zu einer Compilation zusammengestellt worden, die einen Einblick in die europäische Elektronik- und Krautrock-Szene gibt, von der sich vor allem Bowie inspirieren ließ. Passend benannt nach einem von Bowie's Liebelings-Bars in Berlin, kommt 'Cafe' Exil' mit Tracks von Amon Düül II, Faust, Michael Rother, Brian Eno, Soft Machine, Cluster oder auch der Jan Hammer Group! Die Doppel-Vinyl kommt mit dem Edgar Froese-Bonustrack 'Epsilon In Malaysian Pale'! Natürlich mit umfangreichen, sehr informativen Liner Notes zu allen Tracks!

Following « Le Cut-Up Populaire », Pascal Comelade announce sthe release on September 9 of his new album “Le Non-Sens Du Rythme » .

After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’ meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in “Hollywood,” the place where they pay a thousand dollars for a kiss and fifty cents for your soul.

Three years after he celebrated “Sketch of Japan” EP, Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named “Hollywood”, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It’s a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance - all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with se-ducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, “Hollywood” should be perceived in one go to feel the depth of Superpitcher’s tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music’s constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka painting. It asks for endless rides on the Hollywood freeways. in the back the sun – a big orange ball – sinking slowly below the horizon.

You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game NORCO.

Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game’s grit with a wash of downtuned doom and drone. The band has previously been described as “For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease,” and these themes
come to life vividly in Thou’s collaboration with the richly illustrated world of NORCO.

“Thou represents an aspect of Louisiana that’s close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their sound and visuals that’s specific to the region and has influenced the game NORCO,” says Yuts from Geography of Robots. ”We’ve been trying to collaborate for a while, and I’m just stoked it’s finally happening!”

Jazz organist ‘Brother’ Jack McDuff (born Eugene McDuffy in 1926 September 17, 1926 – January 23, 2001) was second only to the infamous Jimmy Smith in terms of fame and the impact he made with the King of keyboard instruments - the Hammond B-3 Organ. Self-taught on the organ, he recorded with Willis Jackson & Roland Kirk in the late ’50s and early ’60s, cutting high calibre souljazz dates for Prestige Records, and later Argo / Cadet. Blue Note and Verve Records. McDuff can also take the credit for launching the career of a particularly gifted young jazz guitarist when he recruited George Benson to his own quartet, which resulted in Benson's first solo deal in the mid 1960’s.

‘Live At Parnells’ is made up of 15 tracks selected from a week-long engagement in June 1982, featuring Danny Wollinski on sax, guitarist Henry Johnson and Garrick King on the drums. Stylistically, Jack and his group cover a lot of ground, especially for an organ quartet – from beautifully old school funky, gritty blues with tracks like Walkin’ The Dog & Blues 1 & 8, jazz standards like April In Paris, and A Night In Tunisia through to some frenetic and distinctly edgy fast paced jazz fusion type numbers - Make It Good and Untitled D Minor - and this reflects how Jack's ears were open to the newer, freer sounds that had developed in jazz and reflected in some of his recordings as ‘The Heatin’ System’ – as several tracks have modal and fusion touches that sound remarkably current. Soul Bank’s Greg Boraman explains the 23 year old back story to how this amazing release of previously unreleased music by a bona fide jazz legend came about.

“I first heard these live recordings in 1999, when I came across Scott Hawthorn’s ’s jazz organ website, where he had made available his personal recordings of Jack and his band playing at Parnell’s in Seattle in 1982. It was amazing to have this music to check out – despite the obvious shortcomings with the condition of the recordings themselves”.

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

First ever vinyl edition of this one off collaboration between Philippe Poirier (Kat Onoma) and Stefan Schneider (to rococo rot / TAL) which was initiated by La Batie - Festival de Geneve, in 2002. The original recordings of the album took place the same year at Bleibeil Studios, Berlin. Engineered by Bernd Jestram. Restauration and mastering by Detlef Funder at Paraschall, Düsseldorf in 2022.

"19 or 20 years, what difference does it make if the beautiful things in life are able to transport us back to Year Zero - again and again. The moment when this album was created. It is the timeless horizon that motivates the artist. “Dad, what’s the line doing there ?” - a good start for a story. Philippe Poirier and Stefan Schneider recount tales of slow travel, far beyond the known continents.
The adventures of a certain Corto Maltese, mysterious love stories in long forgotten harbours. A love that creates its own time, just like a chess game, an ocean liner or propeller airoplanes. The enthusiasm for cartography which Philippe Poirier and Stefan Schneider share, time and again, similar to dream. The dream of an idea, of exploration, of finding. The first lines of a drawing that become the great painting. The sequences and the words which design a world in its own right. A tremendous reservoir and my old friend knows that there is an ideal companion for every journey. This time Philippe Poirier is a narrator who finds a sound like sand flowing through fingers and who knows how deep each object accompanies each love. Les Choses de la Vie." Detlef Weinrich (tolouse low tax), Paris 2021