Search:poet

Ansatz der Maschine is back with a new record! For the album "Burial Songs", Frontman Mathijs Bertel went to the Greenhouse Studio's in Reykjavik, Iceland. He worked together with Producer Valgeir Sigurdsson (Bjork, Feist, Bonnie 'prince' Billie, Coco rosie,...) . The result is a poetic and fairylike record, a mindblowing trip where neo classical harp and cello meets organic click 'n cut electronics, but just as well there are some warm folktronica songs where singer Sophia Ammann (Be/Ca) takes the lead. Every record Ansatz der Maschine likes to collaborate with other musicians. For the song "Invisible" they worked together with AMEN RA frontman Colin H. Van Eeckhout. The video was shot in the wild nature of Iceland with both of them. The Britisch born ambient/folk musician Will Samson (who just released an album on Wichita) lents his voice to the song ‘Untold’.
For this record, Mathijs worked together with musicians Nicolas Rombouts (ex-Dez mona/ Stef Kamiel Carlens...), Seraphine Stragier ( Laïs, SunSunSun Orchestra,....) Gianni Marzo (Isbells, Marble Sounds,...)

Dick Verdult, a.k.a Dick el Demasiado is the Philip K. Dick of multi-disciplinary art, the Moby Dick of “cumbia lunática”, and the Charles Dickens of literature and experimental cinema. He first fell in love with cumbia when he heard his nursemaid singing the classic “La pollera colorá”. From this moment on, he adopted the genre and reinvented it, in a perpetual degeneration called Cumbia Lunática, twisting up the elements of traditional cumbia, the “cumbia of the mucamas”, to create an anarchotropical vertebral rhythm, one which supports every moving part.

Celulitis Illuminati is the powerful debut of the anarchotropical gentleman knight of the abstract, Dick el Demasiado, eight dangerous tracks recorded for the first time on vinyl, songs that, upon listening, will liposuck all that grotesque accumulation of adipose tissue out of buttocks and brain. They interweave an amalgam of South American folklore and the cables of electronic music, the plugged-in Ranqueles indians, as in “Asi Que Los Que Sí” (“So That Those Who Yes”) on Side A, surrealist and lugubrious beats, poetry made song and “the dead man’s drool is good for painting watercolors”, as he sings in “Búho Sin Un Ratón” (“Owl With No Mouse”).Euphony that will abduct you away to a viscous street party with “Son Cosas De Hoy” (“They’re Things For Today”) and to an eclectic and excessive dimension with “pero bien bweno” (“but very proper”).

Side B is pure dynamite: “Mecha flan” (“Pudding Fuse”), “Sábado cultural” (“Cultural Saturday”) and “En la jeta” (“In the face”) represent the perfect blend of Lucho Argain (La Sonora Dinamita) and Muslimgauze (Bryn Jones). On top of this, the album includes an as-yet unheard gem, “Llama Mi Abogado” (“Call My Lawyer”), produced by Dick himself and Manuel Schaller, the telepathic mage of the Theremin. When the Dutchman stepped off the boat and onto the block, as well as offering us the TV set, the sculpture of a deranged English woman who devours islands like they were sandwiches, the synthesizer, the sound effect, the African drum, the maraca, the indigenous whistle, he obtained for us the song and the stanza, he provided us with the language and the poetry, the truthful, the epic of the ugly. Cellulite for mortals, cumbia lunática for the enlightened ones! Alfredo Padilla (Trans. Komurki)

French duo Double Mixte bring their digital thunderstorm of neon lit noire to the Italians Do It Better family on their debut EP. Mixed and produced by label head Johnny Jewel, Romance Noire opens the door to a new wave of Italians Do It Better artists coming in 2019.

Fresh Blood. New Tears. The title track arpeggiates and boils as waves of bass flow beneath. Rhythms are carried to the ceiling by a searing cascade of disintegrating color. A heavy backbeat anchors Clara Apolit’s poetry, ready to wear for a night in the face of oblivion.

The cinematic “Arlette” is a call for discovery through a darkness lit only by the glare of headlights in digital rain. Through all of this, Thomas Maan’s incantations search for the lonely, lost in the void of electronic fog. “November” finds in Clara an Anglophonic chanteuse, meditating on the cycles of time.

A blend of suspended sound and an uncertain melody contracts and expands before dissolving. Romance Noire is art that both contemplates and tanscends time’s firm grip. It’s a filmic journey inducing a vague sense of future nostalgia. Happy Valentine’s Day. Double Mixte is Clara Apolit and Thomas Maan.

The duo met in Paris and there was an immediate pull to create music together. They pooled their combined interest in powerful narrative & dark 70’s French film music to write lyrically vivid songs. In 2017, Thomas reached out to Johnny Jewel for what soon became a collaboration that expanded their vision into a haunting debut EP, out today on Italians Do It Better.

Dukwa is back with the second chapter of his own personal output with a new killer four tracker EP: first cut on A side is the stunning motor city anthem Akira, an epic soulful winner which reminds some of the best Inner City’s moments thanks to its catchy vocal parts and twisted up grooves. If you are more a fan of instrumental club tracks on the second cut instead you will find Akira’s dub version where drum parts , strings, its original wicked bass line and the romantic piano solo totally stand out!

We stuck in the Detroit with the raw jam of Violet opening the flip-side, a wonky lost brother of Strings of Life that through its original arrangement and a clever broken beat will be able to amaze any dance floor. Dukwa’s pinnacle of poetic and compositional intensity happens with the poignant combination of dramatic strings together with beautiful piano notes and acid tinged bass within the closing track Water. Timeless stuff and absolute burners to enrich your record collection.

Ardent sounds attuned to desires & politics of 21st century América, crafted by Chicago quintet’s progressive & poetic approach to (Latin) American rhythm & song. Logos received “Best of 2018” honors from Austin Chronicle, Bandcamp, KCRW, Gay City News, 606 Records, and Ragged Records.

French superstar, D.ko Label bossman and all-round bemasked mystery Mézigue brings the heat on this special release for skylax records. His style is uncommon & raw, mézigue is doing mézigue style, take it or leave it. If you're listening carfeully to his music you can imagine a dream mix between the absurd poetry of the pixies crossed with the craziness of Mr Oizo.This is one of the weirdest release we have ever signed and we are so proud of, unusual & unique. Mézigue is here to stay.

The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60';s and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

The 1970s saw change in Sun Ra's recorded output, and as far as we can tell, the content of his live performances. By the middle of the decade, Sun Ra's music no longer seemed comprehensible as part of the jazz New Thing – quirkier, more idiosyncratic elements were more to the fore.

At this time, 1974, every Sun Ra record still surprised, and seemed radically different from everything else he had released up to then. The musical universe proposed by free jazz had never circumscribed Sun Ra. He had been part of the movement, but was able to use the possibilities it suggested without being limited by its conventions.

The Antique Blacks illustrates this well. Recorded as a radio broadcast in Philadelphia, according to Dale Williams, it has a well defined but oddball structure. Sun Ra was a master architect, very concerned to use the unfolding of an album, a broadcast or a live performance to create a satisfying structure.

Song No 1 starts on an upbeat note, it's a lively, tonal introduction, featuring John Gilmre on tenor saxophone, Sun Ra on roksichord, Dale Williams, then aged 15, on guitar, and Akh Tal Ebah on trumpet.

Sun Ra's poetry is featured on There Is Change In The Air, a track which has on occasion been used for the album title: in its original incarnation as a Saturn LP, there was no dedicated sleeve artwork, and this record appeared under many names. Ra's poetry is allusive, elusive and paradoxical, and this was its first major appearance on a record. During instrumental passages, Dale Williams' guitar is heard, along with the saxophones of Marshall Allen and Danny Davis.

The Antique Blacks is a similar setting for a Sun Ra poem, which encompasses "spiritual men", and Lucifer as a dark angel. The Arkestra is heard in conducted improvisational ensembles, in between the sections of the poem.

This Song Is Dedicated To Nature's God has Arkestral vocals, with John Gilmore's voice in th foreground. Williams' guitar is once again prominent in the instrumental passages.

Sun Ra's poetic declamations provide the structire for The Ridiculous I and The Cosmos Me, which also has a fine unaccompanied tenor solo by John Gilmore, keyboard improvisations by Sun Ra, and closes with bass clarient from Eloe Omoe.

Sun Ra's keyboards are heard with minimal Arkestra support on Would I For All That Were – a fine synthesiser improvisation, with electric piano left hand accompaniment.

Tension is resolved by Space Is The Place, which rounds the album out in an upbeat mood, with Akh Tal Ebah, James Jacson and Sun Ra prominent among the vocalists. The closing section includes the chant Sun Ra And His Band From Outer Space, often used at the close of live performances. This isn't strictly live, though: in one line the vocal is played backwards on tape!

J A surfaces on RUBBER with six disorienting wave tracks, reigniting the catalogue after a short hiatus. Crafted by Andrea Noce (Eva Geist, As Longitude) and Jonida Prifti (Acchiappashpirt, Opa Opa), these productions find elegance in their noir aesthetic and sketch-like composition, breathing filmic atmospheres of its creative process and the hedonist self alike. Straying away from the societal drift for efficiency and make belief, this record was produced over a timespan of five years, while shifting between Berlin and Rome. Dancing and loafing, mirrors were splintered and scattered shards reflected a new light. Here, Noce her serpentine sense of melody guides uncharted signatures of reverberating syncopated drums, while soundscapes move in and out as apparitions fogging the mind. The poetic spoken-singing of Prifti subdues the tracks, through a linguistic form where Albanian and Italian intertwine, channeling her scientific field into art. Cleverly processed, the vocals take on many shapes, blurring lines between instrumentation and recognition, creating meaning where language ends.

Double cyan blue vinyl in a gatefold sleeve. Two printed inner sleeves and a six panel oversized booklet. Download card enclosed. The vinyl includes the Deluxe track listing - 17 tracks in total.

U2 return with their hotly anticipated new studio album 'Songs of Experience'. The Island Records priority release completes a stellar year for the Dublin band, following their return to stadiums with the critically acclaimed, sold out 'The Joshua Tree Tour 2017' playing to 2.4 million fans in just 51 shows across Europe and North and South America, as well as the successful 30th Anniversary re-issue of 'The Joshua Tree'.

Recorded in Dublin, New York and Los Angeles, Songs of Experience was completed earlier this year with its subject matter influenced by Brendan Kennelly's* advice to Bono, to ...write as if you're dead'. The result is a collection of songs in the form of intimate letters to places and people close to the singer's heart: family, friends, fans and indeed himself.

Songs Of Experience is the companion release to 2014's 'Songs Of Innocence', the two titles drawing inspiration from a collection of poems, Songs of Innocence and Experience, by the 18th century English mystic and poet William Blake.
Produced by Jacknife Lee and Ryan Tedder, with Steve Lillywhite, Andy Barlow and Jolyon Thomas, the album features a cover image by Anton Corbijn of band-members' teenage children Eli Hewson and Sian Evans.

'The Blackout' and 'You're The Best Thing About Me' were the first songs to be made available from the album. 'You're The Best Thing About Me' is the band's first UK Top 20 airplay record in a decade and has also been remixed by Norwegian superstar DJ and producer Kygo.

*Brendan Kennelly - Irish poet, novelist and Professor Emeritus at Trinity College, Dublin.

THE WRAITH's Gloom Ballet delivers twelve infectious tracks drenched in the band's '80s UK post-punk (Death Cult, Killing Joke, Sisters Of Mercy) and SoCal deathrock (T.S.O.L., Samhain) influences.

THE WRAITH was founded by imposing frontman Davey Bales, formerly of Virginia peace-punks Lost Tribe, and Kaz Alvis shortly after they separately washed up in Los Angeles. Their irresistibly distinctive sound - skeletal basslines and tribal beats propelling Alvis' textured swathes beneath Bales' poetic, anguished bark - immediately gained a following, with homemade demo Comatic Romance racking-up thousands of YouTube views.
 
Convulsive, chaotic West Coast shows honed the songs that became THE WRAITH's lauded 2017 EP, Shadow Flag. A couple of videos and line-up changes later - the band is now completed by Belgian drummer Jef Pauly and Brit bassist Paul Rogers - their evocative songwriting and pure-punk authenticity earned the ear of Mat Mitchell, who has worked with Love And Rockets, The Flaming Lips, Meat Puppets, King Crimson, and more. Mitchell recorded the band's debut LP, Gloom Ballet, and earlier this year, the band signed to Southern Lord Recordings for the worldwide release of the album.

Recorded by Pucifer guitarist/producer Mat Mitchell, Gloom Ballet was mastered at Audiosiege by Brad Boatright (From Ashes Rise, Tragedy, Alaric) and the artwork was handled by Rebecca Sauve.

A six-track release, ‘Fun Is Fun’ opens with the infectious, synth-driven title track, with a dub version and ‘Mamacita version’ also making it onto the record. Next up, ‘Dancefloor Anarchy’ is a similarly slick cut, while ‘Kill Your Friends’ is 140bpm and harnesses a killer bassline and unnerving scream sample to devastating effect.

“The title track ‘Fun Is Fun’ is a heavy bassline track, meant as a provocative poem, or as a joke you tell your friends who DJ,” Kessler explains. “When I did this track I was smiling because it’s my message not to take yourself too serious in this business. I think that's a big problem all over this scene.”

Following energetic releases on underground labels such Coméme, Get Physical and Numbers, the Cologne-born DJ, producer and poet’s distinctive sound has helped him grow into one of Germany’s most celebrated electronic artists. He has previously collaborated with the likes of DJs Pareja and Christian S while his music regularly receives club plays from Dixon and other A-league selectors.

TRICK was initially launched as a platform to exhibit Topping’s versatility as a producer, as well as a platform to showcase the wealth of emerging talent which he has been pushing in his DJ sets. Kessler, who played the TRICK launch party at Gateshead’s 4,500 capacity Mainyard venue, will also return to the tour with a set at the series’ upcoming Warehouse Project in Manchester on 8th November.

“I first heard ‘Fun Is Fun’ when Jackmaster was playing it in 2016 and it's become one of the most ID'd tracks online since!” Topping adds. “This was also the first time I’d heard of Bryan Kessler. Since then I've been hammering so much of his music and I'm absolutely buzzing to sign ‘Fun Is Fun’ a few years later as I think it could be an underground anthem. The other three tracks also show how much of a unique talent Bryan is!”

A collection of club-ready heaters, ‘Fun Is Fun’ sees Bryan Kessler craft six cuts with the dancefloor in mind.

A new release on our Jukebox Jam imprint features two originally unissued sides from the Poet Of The Blues, Percy Mayfield. 'Gone Astray' is an irresistibly jazzy, mid-tempo Rhythm & Blues track which just epitomises class. The flip is a closing time blues lament with Mayfield drawling his way through his guidelines for dealing with heartache and strife.

Analog Fluids of Sonic Black Holes is a new full-length by Philadelphiabased artist, poet, and musician, Camae Ayewa, who performs under the name Moor Mother.
A sonic black hole is a place where fluid moves so fast that it traps all sound.
To be entangled in its gravity is to feel the pressure of an unjust system -- corruption so powerful that it drowns out whatever you throw at it. Analog fluids are resistance -- individuals who work to create and preserve community in the face of immense darkness and cosmic pressure.
Begun in 2017 as a sonic counterpart to Ayewa’s art show at New York performance space, The Kitchen, Analog Fluids was refined through exhaustive touring. It tracks Ayewa’s emergence into an expanded artistic ecosystem, with contributions from a distinctive set of friends and collaborators like Justin Broadrick (Godflesh, Zonal), King Britt, Saul Williams, Giant Swan, and Bookworms

‘Rain, spit, ice, neon, plants, steam, mercury and soil. This is dream music categorised by a language of senses; visual, poetic, and abstract sound that draws on techno and dub ambient.

‘Somewhere between pastoral impressionism and cyber-noir, its surface evokes the tensions of a fluctuating, fizzing atmosphere, pictures emerging and dissolving in the mind’s eye. Thick layers of field recording flood tracks fabricated from erratic, oddly distanced rhythm.

‘The sensation whilst listening is not unlike hearing the world from a place within the body; swimming in the bloodstream, cutting through the turbulent landscape secure in a metal tube.

‘Or being over-exposed to lushly textured environments with the anatomy far receded; an out-of-body experience where subtler senses are heightened and the landscape begins to take on surreal qualities.’

Thousand Knives Of Ryuichi Sakamoto's Landmark First Solo Album From 1978 Issued On The Better Days Label And Featuring The Synth Classics "plastic Bamboo," "end Of Asia" & "thousand Knives" Is Reissued Outside Of Japan For The First Time In Decades.

Wewantsounds is proud to announce the release of Ryuichi Sakamoto's first solo album originally released in 1978 on the soughtafter Better Days label. Sakamoto was a member of Yellow Magic Orchestra at the time but the group hadn't released their first album yet. Featuring Sakamoto on a wide range of synthesizers and keyboards programmed by Hideki Matsutake, and accompanied by a few musicians including Haruomi Hosono and Pecker, "Thousand Knives" was a blueprint for the YMO sound and includes cult classics that were to become live favourites. Save for a small-scale release in 1982, this is the first time the album is being released on vinyl outside of Japan. Remastered from the original tapes by renowned producer and engineer Seigen Ono, the LP edition comes with original artwork including OBI and 4p insert with new introduction by Paul Bowler. 1978 was a key year for Japanese music. Haruomi Hosono, one of the country's most innovative musicians had just formed Yellow Magic Orchestra pursuing the sonic experimentation he had started with his solo album "Paraiso." The album, credited to "Harry Hosono and The Yellow Magic Band," had been recorded between December 77 and January 78 and featured both Ryuichi Sakamoto and Yukihiro Takahashi. Hosono quickly invited both musicians to form YMO but before the group could release their first album, Sakamoto entered the Nippon Columbia studios in April 1978 with a plan. Sakamoto had become an in-demand session musician after studying composition at the Tokyo University of Art and had played in many key albums of the time: Taeko Ohnuki's "Sunshower" and Tatsuro Yamashita "Spacy" to name just two famous albums. This led to an invitation by Hosono to feature on "Paraiso". A penchant for avant-garde and improvisation had gotten Sakamoto interested in Electronic Music early on and with “Thousand Knives”, he decided to get Hideki Matsutake on board as he had mastered the art of synth programming following a stint with Electronic Music pioneer Isao Tomita. “Thousand Knives” took several months to record as Sakamoto would be busy during the day with his session work and would only record at night. Named after Belgian-born poet Henri Michaux’s description of a mescaline experience, the album is a reflection on how synthesizer technology might come to change the face of music. The first side conceived as a long suite opens with the title track and a recitation of the Mao Zedong poem "Jinggang Mountain" filtered through a vocoder, before morphing into a mid-tempo synthpop instrumental. It is followed by "Island Of Woods", a ten minute track buzzing with insect-like synth sounds reminiscent of the tropical exotica of "Femme Fatale" on “Paraiso” (also featuring Sakamoto). Side one ends with "Grasshoppers," a beautiful acoustic piano melody underlined by a subtle synthesizer soundscape. Side two opens with "Das Neue Japanische Elektronische Volkslied," acknowledging the influence of the German sound spearheaded by Kraftwerk. The track features a mid-tempo metronomic beat skilfully intertwined with a Japanese folk sounding melody. The album ends with two catchy uptempo synthpop tunes in the form of "Plastic Bamboo" and "The End Of Asia," which both became staples of YMO’s and Sakamoto's live shows. Although "Thousand Knives" sold modestly upon release, it was hugely influential in setting the agenda for what was to follow. YMO's sound included various influences from its three members but there is no denying “Thousand Knives” paved the way for the group's Computer Music sound. Thousand Knives remains a fascinating insight into the making of a music revolution.

The two collaborators, known separately for contemporary electronic music & free clarinet experimentations team up to create the delirious trip, Footfalls.

Two scenes are presented here, seemingly taken from different sides of the same desolated seaside setting, loosly inspired by poet and novalist T.S Elliot and Samuel Becket. In Towards the Door, Gareth Davis´ bass clarinet breathes slow, wave-like tones that merge with the oft-rythmic electronic textures from his counterpart. A third of the way in, Robin Rimbaud´s synth erupts into a Blade Runner-esque epic harmonic section that disappears as suddenly as it arrives - leaving ripples of oscillation in its wake, slowly unfolding into the sound of waves, as it arrives back where it begun : as a full circle, drawn in echo´s of sound.

Smokefall begins with the words „Invisible choirs“, subtly spoken by a woman’s voice among a blurred distant conversation, as textural sound effects creep forwards to the point where a slow progressing but steady LFO rhythm enters. Water, metal & smoke are absorbed into a creeping tribal passage, acompanied by long clarinet tones. The piece expands further and further into a state of ecstatic harmonic noise that fulfills all parts of your body – if played loud. Both artists from here on move into full on crushing electronics, all while Rimbaud´s Kilpatrick Phenol synth drives the background with its pulses and repetative bassline. The piece has an ellipse like rotation that makes one feel a sort of blissful vertigo that reverberates in your mind after the piece has ended.

Footfalls is an euphoric trip from two artists that – although prolific - manages to arrive at the perfect meeting point to deliver two hard to shake pieces of dizzying electro-acoustic perfection.

An ode to the music of Zimbabwe past and future, representing the country’s two major cities - Bulawayo and Harare.
The Bulawayo side sees longtime township legends Bulawayo Kwela meet UK producer Danalogue (The Comet is Coming). Reverb-drenched drums and snatches of Penny whistle back the words of the poet Albert Nyathi for a leagues-deep dub Conference. “Nomalenga” stays true to the Township Kwela style that the group has been playing for over 30 years.
The Harare side sees David Tapfuma (longtime collaborator with Stella Chiweshe) deliver an ode to the ghettoes of the capital, accompanied by a solo mbira. Cape Town’s ESA delivers a subtle treatment of the original, drifting the mbira hook into 3am dancefloor territory on a cloud of synths…

Mit ihrem sechsten Album kehren die Casady-Schwestern Bianca und Sierra zum bewährten Erfolgsrezept
ihrer früheren Releases zurück. Im Gegensatz zu den mehr psychedelisch-elektronischen Erkundungen der
beiden letzten Veröffentlichungen "Tales Of A Grass Widow" (2013) und "Grey Oceans" (2010), streift
"Heartache City" wieder durch staubig-poetische Gefühlswelten längst vergangener Tage. Ihren Anfang
nahmen die zehn Tracks von "Heartache City" wie gehabt im südfranzösischen Landgut der Casadys, wo
sich die beiden Geschwister ein lauschiges Studio eingerichtet haben. Dort sammelten sie Ideen und
schrieben Songs, die sie bei Gelegenheit mit minimalem Equipment, antiken Instrumenten und Vintage-
Spielzeug vertonten und ganz nostalgisch mit einem alten 4-Spurgerät aufnahmen, nur zu zweit, rein
akustisch und ohne digitalen Firlefanz. So entstanden relativ reduzierte Songs, die ihren Weg letztlich in
Argentinien in die Händen ihres Produzenten Nicolas Kalwillwith, und um eine Prise Buenos Aires
angereichert, ihren krönenden Abschluss fanden.

“This album will be part of the everlasting impact the Tribe collective had on our culture, on our hope and possibilities.” - Herb Boyd

Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.

Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.

The Vibe Drops (Emcee G Roc Gayle & Moar) presents Higher Frequency vinyl LP. The album features guest vocals from Rita J and Finsta (Finsta Bundy). Also live instrumentation from Remi Schnell on guitar and Jean Louis Potin on the Flute. The Vibe Drops explore with various sound vibrations, live instrumentation, turntablism, records, sampling and advance lyrical content: rhymes, word-play and poetry, blended to perfection with the beats. The Vibe Drops drops first musical offering Higher Frequency
will have the listener fulfilled, hoping the message comes across and resonates to move, elevate, in order to cope and defeat the everyday stressors of life. Higher Frequency delivers boom bap, jazz hop and soulful Hip-Hop stimulation for the mind, body and soul.