Cerca:pos 51

Long-time collaborators, longer-time best friends, lifelong analog appreciators; the German duo Iron Curtis & Johannes Albert join cosmic forces once again for another LP mission 'Moon II', a heartfelt voyage through the sounds, movements, styles and machines that created this music in the first place.
Think late 80s New York, early 90s Sheffield and the perennial sounds of Italo and Detroit, 'Moon II' is a lunar safari that celebrates the deepest foundations of house, techno and electronic soul while resolutely refusing to get nostalgic. Written and recorded during an intense two-and-a-half month session in Berlin last autumn, there's a consistency and tangible narrative running throughout as the pair play inspiration ping-pong over the course of 10 tracks.
A little Drexcyian glacial nod here, a hazy Boards Of Canada wink there. The Other People Place, Kerrier District, Environ Records, the Hacienda, Sub Club, Heaven 17, classic electro… All these ingredients are constantly bubbling in the mix for both Curtis and Albert (as individuals and even more so as a duo) and the end result is an album that works as a proper album should. Peaks, troughs, dreamy departures and all beautiful things in between.
Taking off where their debut collaborative album 'Industrie & Zärtlichkeit' (soon to be retitled 'Moon I') left us three years ago, the opening modem sounds on the intro track 'Canggu Laundry Club' dial us into a special sense of time and space.
It's a space where anything feels possible; Visual-inspired acid lines on 'Tiger Trek', lino-spinning body pops and windmills to the street sounds electro style of 'The Ultimate Seduction', the club-focused, Traxx-style Cutie Schamuthie collaboration 'Hurting', the melancholy plucks and struts of 'Feingold', the provocative, slinky, smoky finale piece 'Nektar'… The list of intergenerational and cross-genre landmarks on this adventurous body of work go and on, each track complementing the last as they fuse to create a bigger collective picture. A picture that's charmed together through the consistent use of key classic studio machines.
They call it Introverted Electronic Body Music, we call it warm, free-spirited and ultimately timeless. Perfect for your sets, your afterhours or your headphones alike; it's time to let Iron Curtis and Johannes Albert take you to the Moon and back… Once again.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Hamburg-based Love-Songs’ newest output Nicht Nicht continues the band ́s striving to mesh defined grids with improvisatory snapshots to create their very own take on organic electronica. Since 2012, the electro-acoustic trio were able to explore the possibilities of their free-flowing interplay through the course of several EPs and the mini-album ‘Inselbegabung’, which was released on Kame House.

Now they are ready to submit their debut album Nicht Nicht on Bureau B. Meandering through it's seven-tracks "Nicht Nicht" contains the Trios most aerially shimmering tracks to date flanked by Tribal bouncers. Form, deform- and somewhere in between ...

We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.

You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).

The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.

Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.

A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.

Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.

And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.

The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

"Who Sent You?" by Irreversible Entanglements is an entire holistic jam of "infinite possibilities coming back around," a sprawling meditation for afro-cosmonauts, a reminder of the forms and traumas of the past, and the shape and vision of Afrotopian sounds to come. Stay on it! This is the future! This is the spectral dreaming, the reshaped soundwaves of post-Katrina, post-Osage Avenue, post-Obamacare that we borrow from to do this work, so stay on it. Who Sent You? they said from their liquid cryo-chamber, from a low-light induction field cobbled together with lithium rods, with melted down Romare Bearden and Howardena Pindell paintings, stitched with chaos fibers and placed in the center of the carrion husk of a burnt out shanty town. They took time to scrape ashen samples of what was, their souls the residue thick and caked on, that still climbs those new high-rise condominiums like moss - the only evidence that they were once there, that they were baked into the fabric of this planet - they were there fixing elevators and tossing wrenches into quantum fields until they were stopped! frisked! and turned into weird, 100-foot martyr murals on the backside, the north side, of supermarket walls-Who Sent You? is how the matrix modulation works. Dig it: Who Sent You? is the punk-rocking of jazz and the mystification of the avant-garde, a sci-fi sound from that out-soul-fire jazz quintet Irreversible Entanglements.

The landmark 1980 album, representing a period of consolidation for Patrice Rushen. Her studio reputation as a go-to pianist and arranger among other artists and musicians was well established and was growing exponentially. Although never originally planning a career as a solo artist, she had built this side of her work through three Prestige albums and two sophisticated soul and disco albums for Elektra, 'Patrice' and 'Pizzazz'. "I was lucky to have a group of musicians that I knew well by the time of these recording sessions," remembers Patrice. "I had my pick of really incredible players because of all of the studio work I was doing. I also played with Lee Ritenour, Harvey Mason and others almost on a weekly basis at The Baked Potato club in L.A." Tracks include the singles 'Don't Blame Me', 'Look Up!' and 'Never Gonna Give You Up'. "'Never Gonna Give You Up' came out of playing ideas at home. Bassist Freddie Washington was living with my family while he tried to get a foothold in L.A.'s music scene and that groove came out of those jams. With 'The Dream', I had been listening to Minnie Riperton's 'Come To My Garden', one of my favourite albums. With Charles Stepney's arrangements, I saw that he didn't have to use large instrumentation to be orchestral in his approach. So, 'The Dream' was a homage to that kind of writing." "After 'Posh', we had a much better idea from the performance side what was important in our music and that informed my next album, 'Straight From The Heart'. We took a little break after 'Posh' was released, although I was still writing and working regularly on scores for film and TV. That had always been my main focus in my music."

Refreshing, ruff & ready sounding white label that’s landed out of nowhere, pulling on sounds from the early days of FWD>> as well as old-skool hardcore and 8-bar grime.

buffering juju, the title of dumama + kechou's debut album, relates to the process of "excavating spiritually charged content from within". The duo's textural sound, driven by cyclical song structures and chant making, not only captures the angst of the modern world but mines this state of affairs for regenerative potential.
dumama (vocalist and uhadi player) + kechou (multiinstrumentalist with a focus on indigenous African instruments and handmade instruments) met in Cape Town in 2017. There was an instinctive pulse to the initial clutch of shows they played together, blowing open vast sonic and conceptual possibilities. "I guess we were in similar places with our music processes in trying to push healing music to the edges and be more experimental with it," says dumama. The narrative of the album unravels as a piece of magical realism informed by South African folklore and reality, detailing a woman's liberation story where the characters shift shape and traverse multiple realms, deploying various iterations of their power or lack thereof. "It has an organic, natural, cyber and modern kind of energy - all rooted in African aesthetics of sound and storytelling," says kechou. All of this sits on a bed of the duo's unique musical language, one that, although applied electronically in the form of looping and soundscaping, is founded on approaches to string, vocal and percussion tones that reflect a merger between Northern and Southern African heritage.
Recorded primarily in Cape Town and Johannesburg over the first quarter of 2019, buffering juju is a conduit to a past we were not necessarily present for, and a future where threatened indigenous technologies thrive in an increasingly digitised world.

in the labels 15th year history there only been a few reissues in the widely ramified discogra-phy. lydia lynch in 2006, hans-joachim roedelius in 2013, fumio itabashi ‎in 2018 and soon skymark ‎with his jazz album “primeiras impressões”.

the italian producer, composer, record collector and modern sun records label co-runner, that listens to the name marc friedli when he hands his tax report to the government, is no stranger to fans of modern brazil, disco, fusion, house, latin, jazz, funk, soul and all other organically swinging music that grooves classical and deep.

since 2007 he released a string of albums and ep’s on his own label as well as on imprints like neroli, mukatsuku records or rush hour, showing his impressive electric piano keyboard skills and unique communication on and with an array of vintage synthesizers like arp, proph-et, moog, roland or korg.

on his privately pressed, strictly limited to 150 copies album “primeiras impressões” he de-livered in 2013 nine gently jazzing tunes that process his experiences in the heat of the city of rio de janeiro.

they are intensely spiritual. they avoid ornamentation. and they bow before jazz history with a gentle respect, while adding an elegantly searching, thrillingly uplifting freshness to the genre with deep discreet minimal funk and light as a feather piano-melodies, as if the key-board were a saxophone.

A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 eld recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician.

Tony Schwartz made recordings of Moondog’s earliest com- positions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks o with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” fol- lowed by the rst ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering gures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

• B Boy Records was a significant player in the development of hip-
hop in the 1980s, but a very short lived label shrouded in mystery.
• This double LP selects the best of the independent label, from the
beginning of the label to including past icons and future legends,
hard-hitting drum programming, synthesize and sampled beats
overlaid with fierce battle rap swagger. This is a snapshot of hip-hop
history.
• The label is best known for issuing the hugely influential Boogie
Down Productions LP Criminal Minded, which is included twice on
this release with ‘The Bridge Is Over’ and ‘South Brox’
• Other highlights include JVC Force’s enduring classic ‘Strong
Island’, DJ Scott La Rock (founding member of BDP) & D-Nic and all-
female rap Sparky D, 5 Star Moet.

Yes, at last! Kinky keyboard porn! Whisper porn! Vinyl Porn! And all at the same time.! And what an ASMR treat we have for you here.
Recordings of 12 incredible bespoke mechanical keyboards made and recorded by the master of this modern art, Taeha Types. Yes, this is actual typing sounds on amazing future/retro/cutting edge keyboards. Every track different. Every keyboard different. Listen and weep - Or sleep - Or something ... An INCREDIBLE & UNIQUE listening experience. The first mechanical keyboard album EVER !!!

For the last few years a small scene has been growing. The mechanical keyboard scene. It’s now quite a big scene actually.
It makes total sense as most of us use keyboards everyday, so why not have an amazing keyboard to use instead of the total crap one you have. I mean just look down. It’s shit isn’t it. So, some people worked out that things could be improved - A lot. - So they started to make incredible, kinky keyboards, using both old and new tech: and the possibilities and options in construction are endless.

There are key cap options (GMK ABS, PBT etc etc), spring options (Cherry MX, Pandas, Alps etc etc) and even backplate options (steel, aluminum, copper etc etc), and of course case options too. And all these options make a big or little difference. And once made these keyboards are carefully lubricated spring by spring to give them that little extra smoothness and “ping”.

The results are beautiful, fetishistic, futuristic in an odd retro style, and they sound AMAZING when they are typed on. This is classic ASMR / whisper porn, the gentle click and rattle of carefully lubed springy keyboards make the hairs on the back of your neck rise. Either that or they gently woo you into a peaceful, sublime state. This is a classic and groundbreaking new Trunk album for our modern stressful times.

The recordings on this album are the first ever release of mechanical keyboard sounds. They are from a selection of (enhanced) keyboards from the 80s, 90s and now. They were recorded by the master maker of the modern mechanical keyboard, Nathan from Taeha Types.
He has a large following on Instagram, YouTube (videos of his hands typing on his keyboards hit 10K in just a couple of days after upload), and he now has over half a million views on his Twitch channel where he constructs keyboards live.

Sleevenotes on the album have been put together by Jonny Trunk and Stu London (AKA Futurecrime) from the London mechanical Keyboard scene. He knows what the fuck he is talking about. And you might not understand it, but you can catch up real quick - like I did.

- Album mastered by Jon Brooks, who also really understand these
sounds. And if you don’t, don’t worry - lots of others will.

'Esoteric, modal and deep jazz from the undergound, 1968-77'

Jazzman Records presents the sound of the unsung musicians who – in the midst of the Vietnam War and the fallout of the Civil Rights struggle – created some of the most beautiful Spiritual and meditative music of the era. Sometimes funky, sometimes mellow, but always trying to say something about the world in which we live.
Existing completely under the critical radar and largely ignored or unknown by music fans and critics alike, most of the musicians featured in this album won't be familiar to even the most seasoned aficionado. Their records, frequently turned down by distributors and record stores, saw little attention when first released - and have seen even less since. But in this era of musical apathy, where so many music junkies look to the past for their musical fix, we have re-discovered hidden, obscure and esoteric jazz musicians who looked to the four corners of the earth - and beyond - for inspiration. Here we evaluate Spiritual Jazz – music that is a snapshot of the era after Coltrane, a time which saw the evolution of an underground jazz that spoke about the reform of the soul, the reform of the spirit, and the reform of society: a music which was local and international at once, which was a personal journey and a political statement, and which was religious and secular in one non-contradictory breath.
The music on this album reflects the social and historical forces at work during the closedown of the '60s dream; music made by close-knit collectives and individual visionaries, by prisoners and eccentrics, by mystics and political radicals. It includes music by acknowledged masters, and moments of brilliance by unsung figures known to us from just one or two recordings. It is the jazz music of America in the age of civil rights, brutal repression, political assassination and war; a music that would guarantee the survival of the spiritual dimension in a society that was angry and traumatized, but nevertheless had seen hope of better days to come.

Hot off the heels of Aluxes, his 2018 Lumière Noire debut EP, young Mexican DJ/producer Iñigo
Vontier is inviting Chloé's label on a trip to the far corners of the body & mind with an album of
demented grooves, psychedelic take-offs and imaginary comic strips of mystical rituals. A
bewitching debut full-length. Mexicans may never possess the sonic science of the Germans,
the hedonistic madness of the English or the gift for synthesis of the French, but, as proven by
Iñigo Vontier's first full-length for Lumière Noire, their universe is much more exciting than
anyone would have ever thought.
The DJ/producer fully asserts his origins by brandishing the album’s title "El Hijo del Maiz" ("the
son of the corn") almost as an emblem: "in Mexico, corn is eaten daily. It has long been defined
as 'the gold of America', and I consider all Mexicans as children of corn". A spiritual and
embodied vision Iñigo's first Lumière Noire release, the four-track Aluxes, set the tone of the
young talent's distinctive interpretation of dark disco, which creeps up on the dancefloor from its
iconoclastic side. The two tracks and two remixes (one by Flügel, the other by Inigo himself)
featured on the 12" for lead single "Xu Xu" (featuring Red Axes-affiliate Xen's irrelevant vocals)
was a full-bodied confirmation that Vontier sees the dancefloor as an arena for the occult –
whether from the peoples of the equatorial jungle, the Middle East or, even from indocile
machines. But, while the spiritual element seems part and parcel of the Jalisco native’s output, it
is in no way the only ingredient of this first long-player: "this album best reflects my own vision
and spirituality, and the way I feel it" he says.
Whether contemplative or frenetic, the collection of tracks that make up “El Hijo Del Maiz” takes
the kitchen sink and throws it out the window: languid rhythms, haunted vocals, and mysterious
percussion fuel a discombobulated house set that scrambles the listener's five senses, leaving
one disoriented and exposed to the vagaries of vertigo. Following the demented, dystopian “Xu
Xu” EP, which explored an imaginary jungle that harbored Mayan and Egyptian pyramids,
Middle Eastern accents are once more present in the off-kilter “Bo Ni Ke” and its Japaneseinfluenced vocal trickery, which Moroccan flutes à la Jajouka transform into a feverish trance.
With the following three tracks, Iñigo Vontier raises himself to the same level of excellence as
the Pachanga duo (of which pride of the Mexican scene Rebolledo, is also known as a prolific
artisan of deconstruction): “Awaken”'s slumbering voice, heard as through the veil of hypnosis,
slowly introduces a techno beat which, as in follow-up “Time”, literally brings the listener to a
levitative state. In a housier vein, yet continuing in the same psychedelic, 90s-infused spirit,
“Don’t Go Back” disrupts the genre’s usual signatures with an out-of-tune keyboard that is
becoming the artist's trademark, destabilizing the listener into a drunken vertigo, with a good
helping of sexiness: "I think the sexy dimension definitely brings a kind of magic to music," says
Vontier. “I'm sure I felt this magic during my DJ sets, and I like to think that sorcerers use this
element in their practices. I might consider myself a bit of a sorcerer when I take over the DJ
booth, by the way." A mood and sound that can once again be found – in a quieter, more
bucolic version – on “Chiquitita” (feat. the flute stylings of pioneer DJ Rocca, now a partner of
cosmic disco legend Daniele Baldelli). The more cinematic, fast-paced and dreamy beat of the
no less captivating “Little Monster” might evoke the mischievous spirit of the Mayas' minor
mythological creatures, while ode to the magical herb Marijuana (feat Thomass Jackson)
proudly tramples into the debate that such a provocative title inevitably provokes: "psychedelic
drugs are powerful tools to reach a higher level of consciousness about what surrounds us, but
we must learn how to complete this psychic journey by ourselves, notably through meditation
and love.
In the end, El Hijo del Maiz is an album-length confirmation of Iñigo Vontier's uniqueness, and
his adherence to Lumière Noire's policy of letting artists fully express their vision – while letting
their passions guide their idiosyncrasies and explorations of innovative electronic signatures

We at Antinote are proud to make our first French-Russian connection. Olga is from Moscow. She came to us after Dominique Dumont's show in Paris, winter 2018. We checked her music and immediately fell in love with the song 'Mojno'. Step by step we built a nice collection of tracks that now make up the 1905 LP! Very active in the electronic music scene, she’s spent the last ten years releasing music, performing, recording & DJing as well as being busy with her tech-project Playtronica (with them she's created 3 controllers that you allow to play scales on people, objects and colors). Across the "1905" LP she utilises some DIY devices such as Yamaha sampler vss-33, voice glitcher from the Russian company “Naked Boards” and organelle synth that creates this synesthetic tone in “ready when you are”. Besides dreamy pads and dancy beats Olga is ironically singing on Russian about her daily routine, in a positive way. There's no sadness and melancholy in the dark snowy days, where even the full moon or retrograde-mercury don’t even bother you ...if you are in harmony with mother nature's 5 elements.

“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.

‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness.

The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde.

Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ Neal Andrew Emil Gustafson temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity.

The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.

Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course.

The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

Words By Neal Andrew Emil Gustafson

Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.

Apollo are delighted to welcome the return of Australia duo Albrecht
La’Brooy AKA Sean La'Brooy and Alex Albrecht with their blissful new
album 'Healesville' recorded in a mud-brick hut on a strawberry crop
in the Melbourne countryside.
Apollo are delighted to welcome the return of Australia duo Albrecht
La’Brooy AKA Sean La'Brooy and Alex Albrecht with their blissful new
album 'Healesville' recorded in a mud-brick hut on a strawberry crop in the
Melbourne countryside. 'Healesville' follows on from the bucolic wonder of
their Apollo debut 'Tidal River' which took inspiration from the duo's visit to
the beautiful Wilson's Promontory (a remote national park on the South
East coast of Australia). "Late last year, we trekked out to a beautiful mudbrick studio located next to a large strawberry crop in Healesville," Albrecht
explains. "We spent a few days capturing the feeling of the slow-paced,
relaxed surrounds: The wildlife, the strawberry pickers, the sounds of the
night, and improvising a response to them with music we felt suited."
Setting up their favoured musical equipment, which included two pianos, a
Waldorf, a Nord and a clutch of microphones the long-form improvisations
began. "The physical construct of the hut imparted a warm and acoustically
interesting environment to record in," Alex explains. "It also allowed us to be
as close to the strawberry crop itself - we positioned a mic out the window
to capture the recordings of the sound outside. During one of the sessions,
a harvest was taking place, and you can hear tractors passing and workers
talking and laughing in the recording. The resulting drowsy pieces were
completely improvised (augmented by percussionist Joseph Batrouney,
guitarist Carla Oliver (Badskin) and guitarist Oliver Patterson), freeform
recordings that explores themes of relaxation, sleep and dreams;
somnambulant piano figures are caressed with delicate guitar passages
bathed in the bucolic field recordings of the Healesville environs. Recording
the album proved to be as relaxing and civilised a process as listening to it:
"We cooked nice dinners, enjoyed good wines, and took plenty of walks
through the landscape to break up the sessions," Alex shares. The resulting
record is one of quietly sozzled majesty - a delicate fusion of ambient
electronic textures, live instrumentation and field recordings that beguiles
and soothes the listener in these troubled times. — Recorded live at Earth
Mud Straw in Healesville by Alex Albrecht and Sean La'Brooy. Guitar by
Oliver Paterson and Carla Oliver (Badskin), Percussion/FXs by Joseph
Batrouney. Mastered by Corey Kikos. Thanks to Sabbine, Boomtown wines
and the strawberry pickers in Healesville.

Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. "I feel like I'm a part of modernising jazz and connecting it with audiences today" Yazz says, "it's exciting".

Her take on jazz weaves in Arabic melodies to evocative, cinematic effect.

'La Saboteuse' is a deep exploration of both her British and Bahraini roots. Ably assisted by musicians including Lewis Wright on vibraphone, MOBO-winning new jazz kingpin Shabaka Hutchings on bass clarinet and Naadia Sherriff on Fender Rhodes keyboard, it's composed of undulating rhythms, Middle Eastern melody and Yazz's sonorous trumpet lines. The record sounds like the passage of a desert caravan, bathed in moonlight. The theme of 'La Saboteuse' is the sense of self-doubt that Yazz feels when she is creating, personified in a female saboteur, an anti-muse that spurs her into action. "Giving 'her' a name has really helped me to identify those negative voices we all get," she says. "I know what it is and I know how to combat it"