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Led By Nigel Ayers And Caroline K, The Band Was One Of The First To Use Tape Cutting, Avant-garde Art, And Underground Video Works To Create A Stage Experience That Was Being Cultivated By Like-minded Artists Like Throbbing Gristle, Spk And Cabaret Voltaire.

Originally Self Released In 1988 On Earthly Delights, Spiritflesh' Is A Masterpiece And A Major Reference For The Early Drone/dark Ambient Minds.

By The Time The Album Came Out, Nocturnal Emissions Had Already Produced Several Albums Of Electronic Music Which Varied From Noisy To Funky. Displaying His Usual Perversity, Nigel Chose To Ditch Electronic Dance Music Immediately Before The Acid House Revolution And Produce A Series Of Utterly Compelling Atmospheric Albums Which Are Often Referred To These Days As Being 'ambient Industrial'.

"spiritflesh" Was The First Offering By The New Shape Of Nocturnal Emissions. The Record 'came Out Of A Long, Hard Thinking, A Personal Examination Of My Own Motives For Working Within Music.' Nigel Ayers Played Church Harmonium, Chime And Music Box On The Record, And Used Samples Of Chimpanzees, Cattle, And African And European Wild Birds. While Generally Ambient, The Music Is Not Like Brian Eno's Work; It Is Atmospheric, But Impossible To Relegate To The Background.

'there's Always A Dangerous Intrusion Of The Real World Into Our Music,' Ayers Said. 'we're Looking Into The Relationship Between People And The Environment, The Kind Of Feedback Which Happens Between People And Locations. Underneath It All, This Planet Has Got Its Own Message.'

'The ancient nightmare is come again!'
This latest visitation of The Hitchhiker's Guide to the Galaxy:
Tertiary Phase comes on heavyweight coloured vinyl,
sumptuously packaged in the style of the galactically
successful Primary Phase and Secondary Phase LP
releases.
For the first time ever on vinyl, here are Episodes 13 to 18
of the BBC radio series. First broadcast in 2004, the Tertiary
Phase is based upon the Douglas Adams's third novel Life,
the Universe and Everything. This is also the first ever
publication of the original radio edits of the Tertiary Phase,
as heard on their original broadcast.
When Arthur Dent and Ford Prefect hitch a lift away from
Prehistory on a Chesterfield sofa, it's the beginning of a
galactic quest that takes in Lord's Cricket Ground, deadly
cricket bat-wielding robots, a spaceship that looks like an
Italian bistro, a planet of sentient mattresses, a wretched
soul who keeps being murdered, a giant spaceborne
computer, and much, much, more. Reunited with Marvin,
Zaphod, Trillian and Slartibartfast, they must prevent the
Krikkitmen from retrieving the Wikkit Key and unleashing
terror upon the Universe.
Starring Peter Jones and William Franklyn as The Book,
with Simon Jones as Arthur Dent, Geoffrey McGivern as
Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox,
Susan Sheridan as Trillian and Stephen Moore as Marvin
the Paranoid Android, with a guest cast including Richard
Griffiths, Leslie Phillips, Joanna Lumley, Toby Longworth,
Michael Fenton Stevens, Henry Blofeld, Fred Trueman and
the voice of Douglas Adams himself, with music by Philip
Pope and Paul 'Wix' Wickens. Adapted, Directed and Co
Produced by Dirk Maggs
Three 180g heavyweight yellow vinyl discs are presented in
illustrated wallets inside a rigid, bound 20 page book, with
exclusive sleeve notes written by producer Dirk Maggs and
Jem Roberts, Douglas Adams's official biographer.
'Howzat!'

Our final physical release of 2018 at First Word comes courtesy of Souleance, aka the DJ producer duo consisting of Soulist and Fulgeance, with a double A sided single, and a glimpse into one of our forthcoming 2019 releases, 'French Cassette' which follows on from Souleance's acclaimed 'La Beat Tape' release from 2013, and again delves into crates of samples with a distinct French flavour.

'François' is a track dedicated to the one and only François de Roubaix, legendary film score composer, jazz aficionado and one of the duo's biggest French influences. A delectable slice of 100 bpm instrumental boom bap, built around a seriously infectious jazz-funk groove, and chopped-up vocals.

'Sète' heads to the south of France, to the beautiful Mediterranean city where Gilles Peterson's Worldwide Festival takes place. A region that the duo have had love and appreciation of, for many years. This one touches up the tempo a little, with some sun-glazed boogie riding beneath ethereal vocals, samples and sizzling synths.


With a decades worth of collaboration between them, and persistent party rocking across Europe, Souleance continue to create tried & tested nuggets of magic for the dancefloor. This double-sided 7" is no exception, and should give you an idea of what to expect from the full beat tape next year. Meanwhile, here's another essential one for the record bags.

2018 played host to a bumper crop of sounds from some of Philly's grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal's 'Murder Tape.'

A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary 'Anti-human' events and co-curator of the ever-prolific Always Human Tapes imprint - alongside Ryan Wurst and Peter Lansky - Heckadecimal's reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.

In short - Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.

Live performance lies at the core of Heckadecimal's practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.

Perhaps it's a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.

Give thanks for acid. Great Circles will see you in the New Year..

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

No one had been through those doors in years. Unchanged, seemingly untouched, just a Guard watching over it, one wondered whether the place would ever see the light of day again. Built in the 70s by Scotch, there were only twenty such places in the entire world. Twenty studios, all identical. Most had undergone a digital makeover in the 80s, but not this one; situated in Lomé, this studio had stayed true to its original form. Silent and uninhabited but waiting for one thing, and one thing only: for the sacred fire to be lit once again. That of the Togolese Recording Office, is studio OTODI for those in the know. Through thick layers of dust, the console was vibrating still, impatient to be turned on and spurt out the sound so unique to analog. That sound is what Peter Solo and his band Vaudou Game came to seek out.

The original vibrations of Lomé's sound, resonating within the studio space, an undercurrent pulsing within the walls, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never really gone cold, despite the deep sleep that they had been forced into. In taking over the studio's 3000 square feet, enough to house a full orchestra, Vaudou Game had the space necessary to conjure the spirits of voodoo, those very spirits who watch over men and nature, and with whom Peter converses every day.

For the most authentic of frequencies to fully imbibe this third album, Peter Solo entrusted the rhythmic section to a Togolese bass and drum duo, putting the groove in the expert hands of those versed in feeling and a type of musicianship that you can't learn in any school. This was also a way to put OTODI on the path of a more heavily hued funk sound, the backbone of which maintains flexibility and agility when moving over to highlife, straightens out when enhanced with frequent guest Roger Damawuzan's James Brown type screams, and softens when making the way for strings. Snaking and undulating when a chorus of Togolese women takes over, guiding it towards a slow, hypnotic trance. Up until now, Vaudou Game had maintained their connection to Togo from their base in France. This time, recording the entire album in Lomé at OTODI with local musicians, Peter Solo drew the voodoo fluid directly from the source, once again using only Togolese scales to make his guitar sing, his strings acting as channels between listeners and deities...

A girl stands at an arcade machine, her eyes fixed on the glowing screen with her back turned on the world. She seems to be alone, somehow lost and yet at one with herself. The cover art (by Carmen Alt-Chaplin) for Peter Zirbs' debut album as a solo artist conveys escapism - being totally immersed in another reality, in the virtual world. His equally futuristic and retro-futuristic aesthetic is permeated with melancholy. What if we really don't exist

Peter Zirbs himself also knows how to escape: how to hunker down in the studio, hide from the outside and lose himself in the music. He emphasizes that such an escape is healing, leading to the world of the romantic. The Viennese musician and producer has always felt most comfortable straddling genres, whether techno and rock in previous band projects, or now as a solo artist combining post-minimalist dramatic synth/piano ("Firmament") with modern wave pop ("Are You Reality") and poignant ballad-kitsch ("Dreamescape"). Here there are subtle changes in emphasis gracing otherwise repetitive harmonies; there a true appreciation of pop. Ten songs - five with lyrics, five without - some threatening, some heartbreaking, all stirring. They project a world - sometimes concrete, sometimes abstract - in which can be found beauty and disquiet, love and fear, failure and perseverance. A world one is happy to get lost in while the cinema in one's head tells its own stories. (by Manuel Fronhofer)

As part of the Viennese rave and techno scene of the 1990s, multi-instrumentalist and electronic producer Peter Zirbs has released music under several pseudonyms, produced and remixed various artists, and scored a range of experimental films. He has broken down genre boundaries over the years with the variety of his output. The circle closes now. In 2018 Peter Zirbs finally steps into the spotlight as a solo artist.

"What If We Do not Exist" by Peter Zirbs is released on 19th October 2018 by Fabrique Records. Guest vocalists include Monika Heidemann (Heidemann, The Phenomenal Handclap Band, The Juan MacLean / DFA Records), Tom Walkden (Wolventrix) and Gerard McNeice.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Wayne Forde's super heavyweight 'Dance To The Music Freakout' is the second reissue from the label for 2018!

Yet again, not much is known about Wayne Forde, or his band 'Stereo'. Could it be another Peter and Patrick studio project Another selection of local, neighbourhood players and singers Who knows What we do know, however, is that this record is a TOTAL disco bomb. All of what you want from a Queen Constance record is here, it's dripping in funk, raw and soulful. Essential stuff for anyone with even a passing interest in disco or anything funky. These jams are super long, percussive dance-floor melters that will do damage! Super rare, too. You won't find one of these nestled in the racks in your local chazzer, which is exactly why these (legit) represses should be in your cart. Essential.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Leifur James will release his debut album in October through Late Night Tales' artist label Night Time Stories.
A Louder Silence is the London-based producer and multi-instrumentalist's first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson's Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ's.
The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James' own soulful vocals.
While James' early unreleased work was singularly electronic, A Louder Silence focuses on analog synths and warm acoustic instruments, all played by his own hand. It's the product of a two-year spell in James' home studio, with additional live drums recorded with Jim Macrae at London's Old Paradise Audio.
James' rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed adeep understanding of rhythm and melody that informs his approach to writing electronic music. James playsthe piano he grew up listening to in 'Mumma Don't Tell' and samples an indefinable percussive element to drive forward 'Suns Of Gold.' 'Night and Day' sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in 'Red Sea.' Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.
Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on 'Uncle Blue': 'I remember him saying to me: "What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence — dark and light; loud and quiet. This also forms the foundation for the album title: A Louder Silence reflects the dichotomy of finding pockets of stillness in a noisy world.
The result is 10 distinct tracks delivered as one coherent and well-structured long-player debut, set for release on LP, CD, and digital, on 5th October 2018.
Live dates follow a debut live show earlier this year at the Jazz Café with Yazz Ahmed, including an album launch at London's Ghost Notes in October.

The New York Downtown Producer/Composer Returns With His First New Album In 3 Years

EIGHTEEN: the year of release, 2018. EIGHTEEN: the age at which I first used a synthesizer.

In creating EIGHTEEN I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.

The musicians are: Gabe Gurnsey (drums) of Factory Floor, with whom I collaborated on the Beachcombing EP and performed live at London's ICA. I appear on Gabe's newly released album Physical;

Larry Saltzman (guitar) has played in my Love Of Life Orchestra since the 1970's. Well-known for his work with Arthur Russell ('Kiss Me Again', Flying Hearts), he is in high demand in NYC by acts such as Simon and Garfunkel;

Paul Nowinski, (bass) has played with LOLO since the 1980's. Paul has an impressive list of credits, including Les Paul, Keith Richards, Bernard Purdie and the Boston Pops; Matt Mottel, (electric piano), is the newest addition to the Love Of Life Orchestra. He is half the duo Talibam!, a leading act in the noise jazz scene; Lewin Barringer, (guitar), is a talented guitarist and producer in Philadelphia.

After mixing the final tracks, I brought the mixes to Berlin. There I worked with the brilliant mastering engineer Mike Grinser who helped to give the album a unified sound.

I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.

This album is atypical for me as I am not playing saxophone. (I do play one reed instrument - a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age,

I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage's 'Silence.' Electronic music was on my radar.

My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California - San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70's and early 80's. In the same way, recording studio technology became accessible in the 90's. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.
Handmade music by way of digital technology: this is the music of EIGHTEEN

Studio One Freedom Sounds Is The New Collection From Soul Jazz/studio One Focussing On The Intense Period In The Second Half Of The 1960s When Studio One's Vast And Unbeatable Output Of Ska, Soul, Rock Steady And Reggae Made It Literally One Of The Hottest Musical Empires In The World.
During This Highly Successful Period, Clement 'sir Coxsone' Dodd Released Hundreds And Hundreds Of Superlative Singles Seemingly On An Almost Daily Basis, In The Process Making Huge Stars Out Of Jamaican Singers Such As Alton Ellis, Delroy Wilson, The Wailers, Slim Smith, Jackie Opel And Many More.
Powered By The Finest In-house Musicians Working In Jamaica, Whether It Was The Skatalites, Jackie Mittoo's Soul Brothers, The Sounds Dimension Or The Soul Vendors, Studio One Functioned As Hit Factory On The Scale Of Motown In The Usa, Shaping And Defining Reggae Music For Decades To Come.
Singlehandedly Studio One's Founder Clement Dodd Was Able To Create The Most Successful Vertically-integrated Record Company That Jamaica Had Ever Known With Pressing Plant, Printers, Studio, Shops, And Sound Systems All Running At Once, With Over 50 Employees And Hundreds Of Artists Working With Studio One During This Time.
Studio One Freedom Sounds Tells The Story Of Studio One In The 1960s With A Stunning Set Of Ska, Soul, Rock Steady And Reggae Killer Tunes As Well As Informative Sleevenotes And Track-by-track Info By Noel Hawks. The Album Is Released As Heavyweight Double Vinyl (+ Free Download Code), Deluxe Cd And Digital Album.

The Stunning And Ground-breaking Album From The Composer And Saxophonist Chris Bowden.

'this Is The Album That Connected It All.' Gilles Peterson 2018

Chris Bowden's Debut Album Time Capsule Was First Released On Soul Jazz Records In 1992 To Universal And Widespread Critical Acclaim. Now 20 Years On A New Wave Of Current Jazz Artists Led By The Likes Of Kamasi Washington In The Usa And A Host Of British Artists - Shabaka Hutchings /sons Of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - Have Brought This Original Ground-breaking Album Into The Limelight Once More As A Pivotal Starting Point, Sharing Many Of The Aesthetics Of These Current Artists At Work Today.

Musically All Are Inspired By The Spiritual Jazz Of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry Et Al Paired With A Modern Electronic Music Sensibility. Chris Bowden's Time Capsule Has Stood The Test Of Time Like Few Other Albums (as The Title Of The Album Suggested), And Remains A Pivotal, Wholly-successful And Original Experimental Musical Collage, A Radical Inspiration And Forebearer To Many Of The Best Progressive Jazz And Electronic Artists Working Today.

The Album Has Been Fully Hi-spec Re-mastered And Is Available As A Limited-edition Heavyweight Double-vinyl Release With Gatefold Sleeve (+ Free Download Code), Slipcase Cd And Digital Album.

is it the best jazz record from japan, as the french-born english disc jockey, record label owner and music collector gilles peterson once assumed or is it maybe the best jazz record of all jazz records
well, everybody needs to decide by himself and has to listen to 'watabase', the second solo piano album of the japanese jazz pianist fumio itabashi, that was originally released in 1982.
tokyo based mule music unearth it, remastered the original recordings and brings it back to the global stores in order to seduce all music lovers that embrace notes who come straight from the heart and soul.
while diving deep into the seven compositions on 'watarese', any sensible listener finds out, that the instrumental piano pieces are somehow soulfully connected to what keith jarret plays on his legendary 'the köln concert' live album for the munich based ecm record company.
like jarret, itabashi does not play his notes academic. he let them fly, gives them some kind a life of their own, hits the piano keys deeply emotional and injects his compositions and interpretations some kind of nervous human soul.
in terms of style some call his 'watarase' recordings post-bop, others contemporary jazz. none of such definitions fit really, as all is just that kind of agitating jazz that melts spirituality with humanity. three tunes, the epic 'someday my prince will come' as well as 'msunduza' and 'i can't get started', are interpretations of compositions by the us-american movie score pioneer frank churchill, south african pianist dollar brand and russian-american composer and songwriter vernon duke.
all other four compositions been written and recorded by the 1949 born itabashi who started to play the piano when he was eight years old. while studying at the tokyo based kunitachi college of music, he fell in love with jazz.
his love was so deep, that he starts to work in the 1970's with such legendary japanese jazz musicians like trumpet player terumasa hino, drummer takeo moriyama and saxophonist sadao watanabe.
till today fumio itabashi is a vital part of the japanese jazz culture as a live performer and film score composer. those who want to see how he makes love with his piano should check the world wide web for the french documentary 'jazzed out', that captured his unique way of playing in one episode.
but as music is always firstly for the ears, and not for the eyes, this little letter in-front of you would rather like to recommend to play the 'watarase' recordings loud to get hooked by the highly infectious piano gems that have been recorded at nippon columbia 1st studio in tokyo on 12th and 13th of octo-ber 1981.
they will haunt you. they will come for good. and they will force you to be a good friend with the repeat button - whatever medium you chose to surrender to the piano jazz music of fumio itabashi.

Skinny Pelembe has corralled together a cast of talented friends for his new EP. It's the second release from the Doncaster-raised, multi-talented producer-cum-bandleader since signing to Gilles Peterson's Brownswood label in February. This one's a group effort, with each of its tracks featuring a different artist, each of them an act he's met through music or through linking with Brownswood's talent development programme Future Bubblers two years ago.

The EP touches on hip-hop, psych-rock and jazz-influenced sounds, continuing in the gloriously magpie-like approach of his earlier releases. Each of its songs started as a rough idea which was then fleshed out and re-imagined with his collaborators. He says that the title of the EP comes from some advice which he left for himself on an old notebook. The singer-guitarist-producer, born in Johannesburg and raised in Doncaster, signed to Brownswood earlier this year and debuted with the 'Spit / Swallow' single in March. It's seen support from Dazed, The Quietus and Huck. He's been invited as a guest onto Jamz Supernova on Radio 1xtra, as well as Tom Ravenscroft and Lauren Laverne on 6 Music. He recently featured as one of the guests chosen for 6 Music's showcase at The Great Escape. The single release will be followed by Skinny's first UK Tour in September.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others

LP in printed innersleeve + download code. STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.

STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.


With fans that include Plaid, Kev Beadle, Kutmah, Lefto and Gilles Peterson, STUFF. began life in 2012 when drummer Lander Gyselinck was asked to play live music in-between DJ sets. Collecting together like-minded musician friends, they would keep the vibe of the room bubbling, with spaced-out jams and improvisation, taking elements of funk, RNB, electronica, jazz and hip-hop, forming their own compositions as a result.


Hotly tipped in Belgium as one of the country's brightest new hopes, they released their first EP the same year, which included the track D.O.G.G. and it caught the attention of bloggers, 22tracks and DJs across Paris and Brussels. Supports slots with D'Angelo and Robert Glasper soon followed and the band would go on to share the stage at the Dour Festival with Hiatus Koyote, Flying Lotus and Lefto.


In 2014, STUFF. were invited to perform a Boiler Room session for the prestigious global, online music broadcasting platform, the first European live band to do so.
The band's self-titled debut album, released in 2015, received critical acclaim, with the Belgian press citing the release as the "record of the year" and "the best thing that happened musically in Belgium since the last 25 years". Mastered by Daddy Kev (Flying Lotus, Thundercat, Jon Wayne), several tracks from the album received airplay on leading dance and electronica radio stations across Europe, and included support from Gilles Peterson on BBC Radio 6 Music and Phil Taggart on BBC Radio 1.


STUFF. have performed sold out shows across Europe and have gained a growing reputation for their explosive eclectic live sets, playing over 150 shows on such diverse stages as the North Sea Jazz Festival (Netherlands), Pukkelpop (Belgium), Secret Garden Party (UK), Shambala festival (UK), Dimensions (Croatia) and Fusion (Germany). The band were also personally invited by Gilles Peterson to perform at On Blackheath, London.


Accolades in Belgium include two MIA's (Belgian Music Industry Awards) for 'Best Musician' (Lander Gyselinck) and 'Best Artwork' (Rinus Van de Velde).
STUFF. are Andrew Claes (ewi/sax), Lander Gyselinck (drums), Joris Caluwaerts (keyboards), Dries Laheye (bas), Mixmonster Menno (turntables)

Kinobe scored one of the biggest chill-out club hits of the Noughties, the deathless 'Slip Into Something More Comfortable'. Known from dancefloors, club backrooms, bars, radio spins, Café del Mar compilations and TV spots the world over - most famously the 'femme fatale' Kronenbourg beer advert - 'Slip...' established the duo at the forefront of a scene that still includes Groove Armada, Air, Röyksopp and Zero 7. Now Kinobe are back in a big way. Founder member and songwriter Julius Waters is now joined by Chuck Norman, multi-instrumentalist, producer and programmer who has worked with the Pet Shop Boys, Peter Gabriel and Robbie Williams. Norman has beefed up the classic Kinobe sound, while adding a pop sensibility to a raft of sparkling new material destined to soundtrack 2018 and beyond. On August 31st 2018 comes Golden Age, the first Kinobe album in 9 years. Lead single 'Little Words' might just be one of the tunes of year, a Donny Hathaway-esque, soulful slice of too-slow-to-disco that nods towards 60s hipster groovy. At once instantly familiar and brand new, a heartfelt three-and-a-half-minute pop-dance floorfiller - with a hook once heard, never forgotten. Elsewhere the Stephen Hague mixed 'End Of The Road' is a huge gospel-tinged ballad destined to own daytime radio, 'Skyhigh' is a gorgeously haunting sundowner, 'Heartstring' is all cosmic soundtrack strings while 'Sunray' is Kinobe at their very best, with its irresistible hooks, washes of melody and downtempo beats. Golden Age is shaping up to be the chilled album of the year, a thirteen-track soundscape of sparkling songs and idiosyncratic instrumentals that is vintage Kinobe. With live shows and festival appearances planned through the rest of the year, the return of Kinobe is only just beginning. Welcome to the Golden Age.