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The magic and majesty of Holger Czukay’s late career works for Claremont 56 is being celebrated on a new compilation. The former Can bassist – a musical maverick renowned for his freewheeling approach to composition, recording and promotion – released a string of inspired tracks on Paul Murphy’s label between 2009 and 2012, typically delivering hard-to-pigeonhole workouts, bona-fide epics and radical reinventions of some of his most beloved tracks.

The collection has been a labour of love – fitting given the sonic details and inventive musicality that marked out the late artist’s solo career – for Claremont 56 founder Paul Murphy AKA Mudd, who first reached out to Czukay after witnessing his now legendary live performance at the Roundhouse in 2009. As Murphy details in his introductory liner notes, it led to a productive working relationship between the pair that included collaborative recording sessions with Ben Smith in Czukay’s legendary Innerspace Studio – a former cinema in Cologne in which much of Can’s music was recorded.The impact of that Roundhouse gig on Murphy is reflected in the fact that two of the tracks on the collection are based on that celebrated performance. There’s ‘Ode To Perfume’, a languid and solo-laden version of one of Czukay’s most celebrated solo records that ratchets up the original’s inherent dreaminess, and a jaunty take on quirky kraut-pop number ‘Photosong’ featuring a spoken introduction recorded at the concert in question.

Murphy’s ability to coax Czukay into delving into his archives is evident across the compilation. Opener ‘A Perfect World (Remix)’ is an eccentric, ever-building masterpiece originally recorded in 1984 – but later re-imagined for Claremont 56 – featuring vocalist Sheldon Ancel and former Can band-mates Jaki Leibezeit and Michael Karoli, while ‘Fragrance’ is a subtly re-wired slab of picturesque Balearic kraut-dub which was initially recorded as a coda for ‘Ode To Perfume’ but lay unreleased for decades.

Then there’s ‘Let’s Get Cool’, a bright and breezy, French horn-sporting 2009 take on 1979 avant-disco classic ‘Cool In The Pool’; ‘My Persian Love (Remix)’, a 2010 re-take of one of his earliest solos recordings; and the near 18-minute brilliance of ‘Music Is A Miracle’. Originally recorded for his fans in the 1980s – but only released three decades later – this widescreen epic not only features drums by Jaki Leibezeit and a fine spoken word vocal by Czukay, but also numerous nods to some of his most revered tracks.

It's fitting, too, that two of the most potent cuts feature Czukay’s much-missed wife and musical muse Ursa Major: the dense, trippy and fittingly out-there ambient soundscape ‘In Space’, and the mesmerising ‘Music To be Murdered By’. Partially inspired by hearing painfully out of tune violin practice through his studio windows, the track was originally recorded for an unreleased album but finally found a home on Claremont 56’s 10th anniversary box set ion 2017. A genuinely spaced-out and mind-mangling slab of organic dub in Czukay’s distinctive style, it delivers a fine curtain call to the iconic artist’s endlessly inventive career.

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire

Original members of Sheffield’s Human League, Martyn Ware and Ian Craig Marsh left after the first two albums
and formed Heaven 17 in 1980. Named after a fictional band in Anthony Burgess’s “A Clockwork Orange”, they
recruited Glenn Gregory on vocals (who had been the original choice for lead singer of the Human League).
Released in April 1983, second album “The Luxury Gap” featured the Top 5 hits “Temptation” and “Come Live
With Me”, as well as “Crushed By The Wheels Of Industry” and “Let Me Go”. The album was certified Platinum in
February 1984 for sales of over 300,000.
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy
and transient information creating an incredibly detailed stereo image with a natural high frequency response.
Presented in its original sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed
in a poly-lined inner sleeve, with all the lyrics and credits plus photos on the 4-page insert.

On their second album, Winter Pageant, The Softies move forward with focused delight. It's the combination of Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze, Go Sailor) that molds The Softies' panoply: feathers and thorns, fawn and fearless, fable and friction. Originally released in 1997, Winter Pageant is the drama of utter melancholia documenting the broken promises, missed phone calls, conversations stalled, love lost. Colossal tasks recorded two guitars deep, forming a new Iliad, chapters on brave deeds and the power of love on the move. You can live for love, or you could live for the splendid cascade of guitar on guitar, voice over voice: The Softies. Winter Pageant was recorded by Stuart Hallerman (Soundgarden, KARP) at his Avast! recording studio in Seattle, Washington.

After meeting in 1992 as members of St Etienne's touring band, Debsey Wykes (Dolly Mixture) and Paul Kelly (East Village) turned their shared love of the soft rock and sunshine pop of the 1960s and 1970s into the now-legendary Birdie. In the summer of 1998 Birdie recorded their debut album "Some Dusty" with the estimable Brian O'Shaughnessy (Denim, Moose, The Clientele). It's a deep and beautiful album, with melodic & sophisticated (yet understated) arrangements providing the perfect setting for Debsey's sweet and soulful soft-pop vocals. Add in gorgeous string arrangements from The High Llamas' Sean O'Hagan and you have all the makings of a pop classic.

Subsequent singles and a second album cemented their reputation as top-notch purveyors of pop, but family life and other artistic pursuits called and Birdie has only been sporadically active since 2001. Their brief but perfectly-formed discography has become the stuff of legend, though, charming savvy pop fans around the world with its timeless songcraft and flawless production.

Summer 2024 will see the long overdue vinyl reissue of "Some Dusty" on US indie label Slumberland Records, returning this classic album to much-needed availability in deluxe remastered form with a deluxe 60s-style laminated heavy card jacket and a fine insert with rare photos and liner notes by Chickfactor’s Gail O’Hara.

Shop Assistants formed in Edinburgh in 1984 and quickly gained a cult following, playing with kindred spirits the Pastels and the Jesus & Mary Chain and gaining positive coverage in fanzines and the music press. Their Shopping Parade EP and Safety Net single both hit the top of the indie charts and charmed listeners with their unique melodic blend of punk rock and 60s pop. The band signed to Geoff Travis' new Chrysalis Records imprint, Blue Guitar, in 1986 for the release of their debut album 'Will Anything Happen'. The album has since become a cult classic and is an essential listen for fans of indie, dream-pop, and shoe gaze. Stand-out songs include the lead single 'I Don't Wanna Be Friends With You', 'All Day Long', and 'Somewhere In China'. This newly expanded edition has been remastered from the original master tapes and compiled in collaboration with David Keegan and Laura McPhail from the band. CD 1 features the newly remastered version of 'Will Anything Happen' accompanied by B-sides from the era, plus previously unreleased instrumental demos from 1986. CD 2 contains a further 18 previously unreleased tracks including recently unearthed alternate versions and rough mixes from the making of the album, live recordings from London and Deinze, and a John Peel session featuring a cover version of Motorhead's 'Ace Of Spades'. The discs are housed in a 6-panel digisleeve with a 12-page booklet featuring lyrics and photographs.

"Té De Flores Silvestres" is the result of the dialogue between the Belgium photographer Michael Roemers and the Argentinian musician Federico Durand initiated by IIKKI, between February 2023 and May 2024.

Federico Durand’s music is a weave of sound searching introspection and delight through simple melodies, made in the heart of Argentina. Federico likes music, gardens, John Keats’ poetry, collecting stamps and Earl Grey tea. Since 2010 he has been released on some labels such as 12k, Home Normal, IIKKI, Spekk, White Paddy Mountain, LAAPS and more.

Michael Roemers, a child of the borders, was born in 1987 in the Belgian village of Plombières, studying sound at the Institute of Broadcasting Arts in 2008. He discovered the power of the image, and became passionate about photography. He began his photographic career following Belgian underground music bands as they toured Europe, capturing crazy moments on stage and backstage. Then, he decided to devote himself to a personal project, to capture his native Wallonie region, highlighting the richness and a part of these Belgian traditions region while exploring the themes of identity, memory and membership.
Since 2021, Michael Roemers has added a new string to his bow by running the Vice Versa podcast with his partner Sébastien Van Malleghem. This podcast explores the themes of photography, art and culture by giving voice to renowned guests in these fields. Té De Flores Silvestres is his first book.

Fine Art Book, Ltd. to 400 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 80 pages, 19cm x 22.5cm, 50 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

The only album by Descendants Of Mike and Phoebe, a family band made up of Bill Lee and his brothers, who are also known as the father of Spike Lee, the director of films such as 'Crooklyn' and 'Do The Right Thing'. A Sprit Speaks. The great song 'Coltrane' by Bill Lee, also famous for his performance of Clifford Jordan, is a miraculous balance of dignified and beautiful piano tones and a heavy waltz beat. M3 'Chick Chick', which seems to have been dedicated to Chick Corea, is an up-tempo, fast-moving song. From there to the last track, 'Too Little, Too Late', a beautiful, tear-jerking piece that conveys the depth and greatness of 70s spiritual jazz!

It's already hard to describe what Deerhoof sounds like. So we'll skip that part and say this sounds a lot like Deerhoof with a different singer. And in keeping with 30-year Hoofian tradition, melodies soar, big hit earwigs abound, harmonies are complex, and keys change frequently and unexpectedly. Arrangements are in a constant state of impatient agitation. Emotions run high but delivery is usually a falsetto deadpan. We Sang, Therefore We Were is grief delivered in code. Greg plays everything save for a few birds who join in singing now and again. He keeps the instrumentarium severely limited, the sound shambling and anti-slick. It turns out Greg is a really good bass player and guitar player, if a bit more rudimentary and slicing compared to his Deerhoof bandmates. He does play more angry guitar solos. But don't expect another Chippendale/Saunier speed-drum freakout; the songwriting is gorgeous and sophisticated, and drums are almost an afterthought. Here, song is Queen. The singing is high and whispery, tending towards the three-part harmony. What we're saying is: We Sang, Therefore We Were sounds a bit like Deerhoof fronted by The Andrews Sisters. This is a peek inside the mind of one of indie rock's most celebrated drummers, many of whose fans may not even realize the relentlessness of his musicianship and compositional prolificacy. Mozartian chords and sounds insinuate themselves here and there on this record, finally taking over in a big climax at the end, when the drums break off unexpectedly into a laugh-or-cry orchestral outpouring that ironically may be the rawest part of a very raw album. "Satomi, Ed, John and I were chatting between shows in Austin in early December. They encouraged me to make a record on my own. With no one to please but myself, it came together way faster than usual. It was basically done by the holidays. I had been excited by the announcement that the new Rolling Stones record was going to sound 'angry.' I thought, 'Yes, I'm angry too.' But Hackney Diamonds turned out more like cotton candy than punk rock. So I went back to Nirvana. I always loved the catchy melody over massive distortion, the way their songs refused to conform to simple major or minor scales, the dark sarcasm which still resonates in this age of phony blue-check-washing of fascism." The album cover is all text, penned by Greg on the familiar topic of interspecies absurdist operatic anti-Cartesian revolution. The songs' lyrics are all drawn from this epic poem. White House spokespersons are recast as The Queen of the Night from The Magic Flute, The Queen of the Night is recast as a mockingbird singing all night in a battle for survival, and ultimately the mockingbird is recast as a campy drag artist taking pleasure in her own aggressive, tireless music-making.

The 10th anniversary edition of The Growler's "Chinese Fountain" has been updated to include a gatefold with never before seen photos and colored vinyl. Includes the favorites, "Going Gets Tough", "Black Memories" and "Rare Hearts

Tiny Habits were formed in Boston, MA by artists Maya Rae, Cinya Khan and Judah Mayowa. The three singer-songwriters met at Berklee College of Music and the band was born at the beginning of 2022.

They started out by sharing covers recorded in the stairwell of their dorm and posting them on social media. Focusing on beautifully intimate three-part harmonies the trio's enticing signature sound, offered exquisite, reimagined versions of songs from across a spectrum of styles and quickly drove them to viral success. They received recognition and early support from artists as diverse as David Crosby, Marcus Mumford, Phoebe Bridgers, and Noah Kahan. Collaborations include work with Mark Ronson, JP Saxe and Lizzy McAlpine, who they supported on NPR’s Tiny Desk

Their debut EP “Tiny Things” was released in April 2023 and established them as one of “the” bands to watch in the year ahead.

In early 2023, the band opened for Gracie Abrams “Good Riddance Tour” across North America, followed by their own sold-out US “Tiny Tour”

At the end of 2023, the trio opened for Noah Kahan on his “Stick Season Tour” across Europe, followed by a sold-out headline show in London. In January 2024, the band rejoined Gracie Abrams, opening for the Australian leg of her “Good Riddance Tour”. This was followed by a sold-out headline show in Melbourne and a performance at the Minetta Lane Theatre in New York with Kacey Musgraves. The New Yorker recently wrote a feature piece on the band, coining them “The Prodigies of Harmonies”.

Engelbert Humperdinck, der legendäre Schlagersänger, der für seine samtige Stimme und zeitlosen Balladen
bekannt ist, zieht mit der Wiederveröffentlichung von zwei seiner kultigsten Alben, ”A Man Without Love”
und ”Please Release Me”, zum ersten Mal auf farbigem Vinyl das Publikum weltweit in seinen Bann. Diese
Alben haben Humperdincks Status als einer der beliebtesten Entertainer aller Zeiten mit über 140 Millionen
verkauften Alben im Laufe seiner glanzvollen Karriere gefestigt.

Prolific Danish drummer Emil de Waal has come to be known for his unique and personal contributions to a wide variety of musical projects in jazz, pop, rock, and electronica, including Kalaha, Baghdad Dagblad, Maluba Orchestra, and his own quartet to name a few. Well versed in the art of collaboration, his new record is his first solo undertaking, combining his jazz musicianship with his affinity for the offoff-kilter and electronically manipulated. Comprised of seven original compositions, as well as creative reinterpretations of pieces by Charlie Haden, Duke Ellington, and Hans Henrik Ley/Jannik Hastrup, the record is a collection of intimate, interactive duo performances decorated with sounds and textures from the electronic world. The record s title translates to four eyes ", a double double-entendre alluding to the album s duo approach, under four eyes so to speak, as well as to the fact that de Waal wears glasses. Making a conscious effort to collaborate with more female instrumentalists as well as musicians de Waal hadn t played with before, Fire Ojne " features a wide spectrum of organic instrumental timbres on the prepared piano, clarinet, saxo-phone, pedal steel guitar, and bass flute. From sung melodies and winding improvisations to spacious, experimental textural approaches, each piece sees de Waal engage in a private conversation with a musician he s admired. From the bluesy New Orleans feel of Ellingtons Limbo Jazz "", to the glitchy, menacing, avant avant-garde groove of Halvfirs Fems "", to the spacious, twinkling, ethereal Diskurs "", the album showcases the staggering breadth of the drummer"s influences and ideas. Programmed drum beats, vast reverbs, foley recordings of flowing water, and ricocheting delays craft an expansive, surprising and inventive context for improvised music in the 21st Century.

Originally released in 1969, “Poe Through The Glass Prism” was one of the first ever concept-based rock albums. This Scranton, PA band (the first rock group from the Northeast to perform on national television shows and obtain a major record label deal) adapted Edgar Allan Poe poems to psychedelic rock with stunning results: swirling organ, fuzz bursts, passionate vocals… the sound quality was exceptional as the album was engineered and produced by Les Paul (the legendary inventor of the electric guitar and many studio recording devices) at his recording studio in New York. The album and its single “The Raven” hit the Billboard, Cashbox and Record World charts in 1969 and remained on for several weeks.

We’re proud to offer the first ever band sanctioned LP reissue of this cult psychedelic classic.

*Sourced from the original master tapes
*Insert with liner notes by Plastic Crimewave and rare photos

“The Glass Prism were forerunners of the Goth movement. “The Raven” was the first true expression of Goth Rock.

Zur Feier des 40-jährigen Jubiläums wurde die Studioversion von ”The Lexicon of Love” von ABC in den Abbey Road Studios als Half Speed-Version neu gemastert! Das Album enthält einige seltene Tracks und Konzertauftritte, die noch nie zuvor auf Vinyl veröffentlicht wurden! Diese Neuauflage von ”The Lexicon Of Love” wird als 4LP+BluRay und auf schwarzen Vinyl (Half Speed Master) am 04.08 veröffentlicht.

INCEPTIO/ARCANUM/CONCESSIO - The powerhouse of K-POP, ENHYPEN (JUNGWON, HEESEUNG, JAY, JAKE, SUNGHOON, SUNOO and NI-KI) are back with a new series starting out with 'ROMANCE : UNTOLD', Available in three versions: INCEPTIO Ver., ARCANUM Ver., and CONCESSIO Ver.. Contents include: CD, Out Box, Letter, Photo Book, Photo Card A (random 1 of 7), Photo Card B (random 1 of 7), Sticker, Album Logo Sticker, Postcard (random 1 of 7), Paper Rings (random 1 of 7), and Poster. Dimensions: 189 x 150 x 32 mm. VINYL: The powerhouse of K-POP, ENHYPEN (JUNGWON, HEESEUNG, JAY, JAKE, SUNGHOON, SUNOO and NI-KI) are back with a new series starting out with 'ROMANCE : UNTOLD’ – now available in a vinyl version. Contents of the album include: Clear 12” Vinyl, Lyric Booklet (8 pages) and 2 Stickers. ENGENE Version- with each version specific to each member. Contents of the album include CD, Photobook (random 1 of 7), Photo Card A, Photo Card B (random 1 of 7), Cover Custom Photo A, and Cover Custom Photo B. Dimensions: 183 x 130 x 11 mm.

Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.

Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.

Unknown spiritual jazz gem recorded in Argentina in the 80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp_, and originally released on Litto Nebbia's label Melopea. Already supported by Gilles Peterson on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist Marcelo Peralta resulting a very impressive ode to the legacy of Coltrane. First time reissue. Includes extensive notes and many previously unpublished photos. 180g vinyl. DESCRIPTION Unknown spiritual jazz gem recorded in Argentina in the late 80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp_, and originally released on Litto Nebbia's label Melopea. This is the first and only album ever released by this band, Grupo de Improvisación Tercer Mundo (Third World Improvisation Group), formed by a quartet of young musicians based in Buenos Aires accompanied by drummer Norberto Minchillo (López Fürst, Fernando Gelbard, Jorge Navarro_) and Litto Nebbia himself during the recording sessions. They would also organize weekly jam sessions in public spaces in Buenos Aires, getting visual artists, poets and even passersby involved in these communal actions that aimed to promote self-expression in an environment of total freedom. After the gigs they'd gather again for intense listening sessions of deep jazz for hours_ Already supported by Gilles Peterson on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist Marcelo Peralta resulting a very impressive ode to the legacy of Coltrane and a very accomplished work of jazz improvisation. 'Almas Liberadas' and 'Un Hilo de Luz' sound as a clear tribute to Pharoah Sanders, as the subtitle of the latter openly states. First time reissue. Includes extensive notes and many previously unpublished photos.

Repress!

** Now available on vinyl* Steve Reich remains one of the most important figures in
20th century music. Though he studied at the prestigious
arts institutions Julliard and Mills College, by the mid-
1960s Reich set about dismantling the very orthodoxy that
he had been trained in. Forming a new musical language
based on repetitive processes, Reich became established
as part of the so-called 'Big Four' of New York minimalists
(along with La Monte Young, Terry Riley and Philip
Glass). Reich's influence can easily be seen today in both
the classical world and contemporary pop music.
'Four Organs' is the ultimate minimalist composition.
Performed by Reich, Glass, Art Murphy and Steve Chambers,
four identical Farfisa organs strike a single chord and
gradually lengthen each note to produce polyrhythms between
the players. Anchored by Jon Gibson's stoicallysteady
pulse on maracas, the piece deconstructs its opening
burst to a sustained mass of sound - stretching the tones to
create (in Reich's words) 'slow-motion music.'
Inspired by Reich's early training on drums, 'Phase Patterns'
treats the keyboards like tuned percussion instruments:
a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync.
Each progressive cycle emphasizes unique figures that are
not generated by an individual alone, but rather emerge
from the communal expression of the group.
Originally released on Shandar in 1971, Four Organs /
Phase Patterns is one of most highly regarded avant-garde
recordings in the past 45 years. This CD release features
cover photography by artist Michael Snow and is recommended
for fans of Neu!, Glenn Branca and Tim Hecker.

Having been ‘discovered’ working in Liverpool’s Probe
Records during the punk rock explosion of the late 1970s,
Pete Burns found himself fronting his own band,
Nightmares In Wax who mutated into the more familiar
Dead Or Alive, eventually bringing Pete into the UK pop
mainstream, and a star was born.
Bringing together two-self-released 1982 singles and a collection
of early versions of Hi-NRG tracks which would eventually find
their way onto the band’s debut album, ‘Let Them Drag My Soul
Away’ showcases the blossoming of one of the 80s pop scene’s
most colourful characters. Unapologetic, unfiltered, loud and
proud – Pete Burns singularly brought a punk rock mindset to the
pop paradigm, providing a much needed antidote to the sexless
Thatcherite stars beginning to dominate the UK pop charts
during the middle of the decade – this collection of recordings
captures something of that spirit and the energy of the driving
force behind it.
Pressed on deep red vinyl and housed in a cover photograph by
Dead Or Alive’s then manager Francesco Mellina, ‘Let Them
Drag My Soul Away’ presents a last glimpse at a pre-stardom
Pete, and a long overdue back story accompaniment for fans and
collectors alike.

Braulio Lam's Close-Up is a captivating soundscape that blurs the lines between music and photography.
Hailing from the border region between San Diego and Tijuana, Lam's inspiration stems from the vibrant cultural exchange and diverse musical traditions of the area. His creativity as a music producer and photographer converges seamlessly into this album, where he manipulates images and sounds, using light as a catalyst for his sonic experiments.
The album's eight tracks showcase Lam's eclectic sonic palette, ranging from electronica and dub techno to ambient and trip hop. The opening track, "Prologue," sets the stage with a haunting guitar echo and a spacious, downtempo beat. Angelic vocals float ethereal over the sonic backdrop, creating a sense of scenic grandeur. "Cinestill" immerses listeners in a sub-aquatic realm with its slow-pulsing beat and cavernous ambiance. "Buena Vista Social Dub" captivates with its sensual vocals, echoing drums, and hypnotic melody.
"Monika" evokes a sense of beachy tranquility with its electric guitar and ambient soundscapes, while "Mirror" transports listeners into an atmospheric swirl of broken beats and ambient textures. "Eastman" delves into the depths of dub techno, its hypnotic chords and airy soundscapes creating an otherworldly atmosphere. "Winter Light," showcases Lam's mastery of minimalism. Field recordings of natural sounds, sparse guitar plucks, and evocative imagery paint a stark but beautiful soundscape that lingers long after the music has faded. "Tiffen" closes the album on a serene note, its gentle island rhythms and floaty textures inviting listeners to relax and unwind.
Overall, Close-Up is a testament to Braulio Lam's boundless creativity and artistry. Its unique fusion of musical styles, experimental sonic textures, and evocative imagery makes it an immersive and captivating listening experience that transports listeners to a realm where the senses intertwine.

High Roller Records, 180g black vinyl, ltd 500, 2 bonus tracks (Mrs. Victoria + Lucifer's Hammer), 425gsm heavy cardboard cover, lyric sheet, poster, A5 photocard, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, 180g black vinyl, ltd 500, 2 bonus tracks (Mrs. Victoria + Lucifer's Hammer), 425gsm heavy cardboard cover, lyric sheet, poster, A5 photocard, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Black Vinyl. Very Limited
Behold! Every single raw, filthy, ripping old school punk/(death)metal note from Seattles' legendary lords of destruction ever recorded is within this box!

contains:
†Black Breaths' 1st demo on cassette! (available for the first time ever!)
†Razor To Oblivion EP (with 2 previously unreleased tracks!)
†Heavy Breathing vinyl LP
†Sentenced to Life vinyl LP
†Slaves Beyond Death 2xLP

This essential box also contains a killer 8 page booklet with tons of photos, liner notes from Todd Jones (NAILS) and a tribute to bass player: Elijah Nelson.

In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name): “Haunted”/”Nothing Is Forever” and “I Believe In You”/”Someone Who Cares.” A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, “Faithful” (in mono), as a bonus track on the 1990s CD release of Dusty’s 1970 Atlantic album A Brand New Me. The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts.

Then, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —assembled Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful on LP presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks meant for the album release out on vinyl over 50 years later. All tracks are in stereo, while the liner notes on the new gatefold spread, penned by The Second Disc’s Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic. A missing/ jumbled part of Dusty’s august recorded legacy, finally set right and available in its intended format. Out on metallic gold and purple “royalty” vinyl as befitting The Queen of Blue-Eyed Soul…limited to 1500 copies!

Enjoy The Ride Records proudly presents the Don't Fall In Love With Yourself Soundtrack.

Don't Fall in Love with Yourself is a documentary that explores the life of enigmatic musician and artist, Justin Pearson (The Locust, Swing Kids, Dead Cross, Planet B, Head Wound City, Deaf Club). From childhood tragedy to his rise in the San Diego punk scene, Don't Fall in Love with Yourself takes an in-depth look at a career made of blood, sweat, and spit.

Much of the footage has been sourced from dozens of VHS & Mini-DV tapes recorded over the past three decades. With never-before-seen footage of one of the most interesting and unique musical movements in recent memory. Interviews include Justin Pearson, Dave Lombardo, Eric Paul, Gabe Serbian, Jason Pettigrew, Travis Ryan, Jeremy Bolm, Jon Syverson, Molly Neuman, and more.

Don't Fall in Love with Yourself includes tracks from throughout Justin Pearson's career plus previously unreleased score music by Luke Hensgaw (Planet B), Alex Edkins (Metz) and Graham Walsh (Holy Fuck). It features music by The Locust, Swing Kids, Struggle, Crimson Curse, Retox, Planet B, and Justin Pearson/Gabe Serbian. Remastered by Dave Marino for vinyl.

Don't Fall in Love with Yourself is housed in an embossed silver foil laminated jacket, which includes a full-color double-sided insert.

Enjoy The Ride Records in conjunction with Lionsgate, SModco & Destro Films proudly presents the Clerks III Soundtrack. Curated exclusively for vinyl and cassette tape by Kevin Smith and Enjoy The Ride Records, the Clerks III Soundtrack contains a selection of James Lewis Venable's score to the film, along with a collection of songs played throughout the film.

The vinyl release features Matt Taylor's art on the gatefold jacket and has a double-sided full-color insert, featuring stills from the film and additional art from Matt Taylor. Pressed across 5 colorful themed variants RST THC, Clerks III Swirl, Quick Stop, Smoke (Secret Stash), and a Mondo Exclusive Split, this pressing is limited to 1,500 copies.

Celebrated Zambian guitarist and bandleader Paul Ngozi’s concept album about the stuggles of those living in Africa’s 1970s townships Includes Oversized 8 Page Booklet That Details Paul Ngozi and The Ngozi Family’s Arc, Including Rare Photographs, Discography And Annotation. The third entry in an era-defining reissue series on Now-Again centered around this Zamrock legend and his band - previous entries include Day Of Judgement and 45,000 Volts

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” (New York Times)

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere.

Glasgows mehrfach mit BRIT- und Ivor-Novello Awards ausgezeichnete Songwriting-Giganten Travis kehren mit der Ankündigung ihres zehnten Studioalbums "L.A. Times" zurück, das ab dem 12. Juli 2024 über BMG erhältlich ist. Produziert von Tony Hoffer (Air, Beck, Phoenix), wurde "L.A. Times" von Fran Healy in seinem Studio am Rande von Skid Row, Los Angeles, geschrieben, der Stadt, die er in den letzten zehn Jahren sein Zuhause genannt hat. Er beschreibt "L.A. Times" als Travis' "persönlichstes Album seit 'The Man Who".

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

Es ist 6 Jahre her, dass wir das letzte Mal von Adrienne Pauly gehört haben. 6 Jahre sind lang und kurz zugleich, die Zeit, die ihre Lieder brauchten, um zu reifen und zu reifen, um veröffentlicht zu werden, um uns angeboten zu werden. Dieses dritte Album ist ein persönliches Werk, in dem Adrienne sich uns mit Poesie anvertraut und uns in ihr Universum hineinzieht, das sofort identifizierbar und doch so ganz anders ist. Es ist ein Album, an dem die langjährigen Weggefährten Gaby Concato (Melissa Mars, Jacques Dutronc, Vanessa Paradis) und Axel Concato (PY JA MA) sowie die Seele der Stranglers, Jean-Jacques Burnel, mitwirken. Die Schauspielerin und Sängerin feierte ihren ersten musikalischen Erfolg 2006 mit ihrem Debütalbum, das von den Singles "La fille du prisunic" und vor allem "J'veux un mec" getragen wurde. Diese brachten ihr im selben Jahr eine Nominierung bei den Victoires de la Musique in den Kategorien "Album Revelation of the Year" und "Artist of the Year" ein. 2024 freut sich Kuroneko nun Neues der Künstlerin veröffentlichen zu können.

Two track EP from the Italian early 90's cult label, Interactive Test, helmed by legendary Falsini brothers. Both sides going generously past the 8 minute marker and well into the upper 120 BPM class of affairs, "Farf-Ability" is another show case of the experimentally excursive approach to the early Italian progressive sound, this time on behalf of Francesco Farfa. Two flavours served confidently: uplifting daytime ravey on the A side, and darker trancier night time on the B side, heavy on the percussive samples. Remastered and re-issued with new full cover artwork, featuring photographic evidence of a special moment in time for Italian rave culture.

Glasgows mehrfach mit BRIT- und Ivor-Novello Awards ausgezeichnete Songwriting-Giganten Travis kehren mit der Ankündigung ihres zehnten Studioalbums "L.A. Times" zurück, das ab dem 12. Juli 2024 über BMG erhältlich ist. Produziert von Tony Hoffer (Air, Beck, Phoenix), wurde "L.A. Times" von Fran Healy in seinem Studio am Rande von Skid Row, Los Angeles, geschrieben, der Stadt, die er in den letzten zehn Jahren sein Zuhause genannt hat. Er beschreibt "L.A. Times" als Travis' "persönlichstes Album seit 'The Man Who".

Veiga lands straight on the dancefloor, no ambiguity about it. Spurred by the guys from RS Produções, he's been honing his DJ skills since he was 17 (currently 23), initially with partner Nunocoox, who gave him even more motivation. Production came naturally sometime in 2020. We venture: maybe one of the good things coming out of the lockdown? Summer of '22, his debut at Musicbox (at the Príncipe monthly residency) is recorded as a festive, lively set, punctuated by the kind of crowd shouts only heard when things go really happy and sweaty. Since then, Veiga's name has been spotted regularly in the afro club scene, growing in reputation

This side of kuduro, "Leandro" is as expressive as it gets, with percussive forces pulling in deceitfully different directions, much in the same style as the slower form of tarraxo. But we can call this house, yeah? No niceties, however: little over 3 minutes and the track abruptly cuts into silence, exuding the raw power of something made for the mix, not in the least "for the people". In a similar pragmatic mode, the stabs in "Sem Nome" get the party started unannounced. Full mode, for the duration. Minimal groove, broken beats and emotive highlights. "Boiler Room" may be wishful thinking, an interpretation of what is required to rock the place or, ultimately, just a title to wrap up the project. In any case, here's a feisty vocal-and-whistle driven stormer, building up to perfection over three and a half minutes. All elements exactly where they belong. Relentless pace in "X de Destroi", a dark side operation, unreal ambiance, breakneck beats, a purgation?

The title "Tudo É No Guetto" contains all the necessary theory. Everything happens in the ghetto. This uplifting house slab celebrates life as it is, freezing hardships for a moment, the ghetto seen as welcoming, a natural place to be. Vocals stashed away in his cell phone come from the animação crew Os Twinni (he joined them for a while). Clipped, repeated and manipulated to convey the very simple feeling of good times. Veiga himself talks about growing up with minimum resources but still happy. That is the memory he retains from being a kid in the ghettos of Amadora, just outside of Lisbon, born to a Cape Verdean father and Portuguese mother. Though the music sounds carefree and the message is chilled, let us not be tempted to rebrand Reality.