Search:puma

The combination of their musicianship and the cutting-edge technology at the studio resulted in a masterpiece of pure, state-of-the-art funk and boogie. The album features all the hallmarks of great 80s music: fresh synths, drum machines, and powerful lead vocals from John Davis. Upbeat tracks like "The Cat (Puma)" and the title track sit comfortably alongside more soulful songs like "Tears" and "Hearts of Gold," while "Dancing Shoes" remains one of the era's catchiest dance tracks.

Still, Shake It - Make It Loose holds a few mysteries. Why was it released under the unusual name J.D. (Puma) Lewis? And what's the story behind tracks like "The Cat"? While J.D. Lewis stood for John Davis Lewis's full legal name, Hudson sheds light on the "Puma" connection: "At the time, I was working as a promotions manager for Puma sportswear. Jörg Dassler, son of Puma founder Rudolf Dassler, was a friend of mine and financed our studio sessions." As said, these sessions took place at Hartmann Digital, a state-of-the-art studio in Untertrubach, Bavaria, where iconic artists like Nena, Yello, Visage, DAF, and Soft Cell recorded.

The use of such an expensive studio would have been out of reach for the two musicians without Puma's backing, which also explains why there is a title like "Dancing Shoes." When we had licensed the track for the Boogie On The Mainline compilation in 2018, we had the chance to speak with John Davis (who sadly passed away in May 2021 due to COVID-19). Davis revealed that there were plans to make a video for the song in collaboration with Puma, but those plans fell through. In the end, the album was signed to the Deggendorf-based Metrovynil label.

Interestingly, the original contract reveals that the first version of the album only contained six tracks. Metrovynil added two more: "Sexy Highschool Lady," a track Davis recorded solo, and "Party Rap" by The Dynamite Two, which had no connection to Davis or Hudson at all. The album's credits also list a "Fred Fiore" as the person "who made all of this possible." Hudson, who sees himself as the producer, has no idea who Fiore was - likely another fabrication from the label. "That's just the kind of thing Metrovynil did," Hudson comments with some regret.

Despite the behind-the-scenes confusion, the music spoke for itself. The original pressing looked and sounded fantastic, featuring a stylish cover shot of John Davis in a sharp suit. Now, with this first-ever vinyl reissue, we're thrilled to include additional photos and more background information in a deluxe gatefold sleeve.

This reissue includes all six tracks from the original Hartmann Digital sessions, plus two bonus tracks. From the original reel tapes, we unearthed additional material that Hudson and Davis produced together in the early to mid-80s. We're excited to share the previously unreleased tracks "Life's A Party," and "Walk Out On Me." The digital version of the reissue will also feature two more songs: "Red Drops" and "Pick It Up Off The Ground."

Shake It - Make It Loose is a classic boogie-funk album that belongs in every serious funk and disco collection. It showcases the undeniable talent of two true musicians and stands as a testament to the friendship between Reg Hudson and John Davis.

Der in Süd-London geborene und mittlerweile in Atlanta lebende Puma Blue - das Pseudonym von Jacob Allen - veröffentlicht sein Überraschungsalbum 'antichamber'. Es markiert eine klangliche Wende für Puma Blue, da er sich von der vollen Band abwendet und ganz auf obskure elektronische Texturen und akustische Instrumente setzt. Während sein bisheriges Material irgendwo zwischen Trip-Hop, Jazz und Electronica schwebte, hat 'antichamber' einen rohen und direkteren Ansatz beim Songwriting. Hauptsächlich getragen von der sanften Stimme Allens und akustischen Gitarren zeigt sich 'antichamber' verletzlich und von überwältigender Schönheit.

Eric Hilton von Thievery Corporation hat sich für diese 7" mit Puma Ptah von der Thievery-Liveband zusammengetan. Exzellente Reggae/Dub/Afro-inspirierte Headz Music. Limitierte Auflage auf grünem Vinyl.

Back in stock soon...


An oddball fantasie by Bulgarian brainiac Puma & The Dolphin out now on a newly born Brussels imprint

Over the course of two EPs, two singles and a stripped-back
live album, Puma Blue has established himself as one of the
UK’s most vital new talents, quietly amassing over 50 million
streams in the process and selling out shows from London to LA
and Paris to Tokyo.
 His long-awaited debut album, ‘In Praise Of Shadows’, was a
delirious dreamland of soulful vocals, D'Angelo-ish guitars and
muted electronic beats. Its fourteen tracks are a contemplation
on “the balance of light and dark, the painful things you have to
heal from or accept, that bring you through to a better place,”
says the 25-year-old Puma Blue, real name Jacob Allen. “It's
about finding light in darkness and realizing that it’s what got me
here today.”
 Described by NME as “a brief moment of relief for those lost in
the darkness,” the album found his storytelling at its most
honest and vulnerable to date whilst his production reached
new heights, retaining its characteristic bedroom intimacy. Yet
for all the intimacy of his ‘voicemail-ballads’ on record, his songs
carry a different resonance in a live setting; a mix of
improvisation, in-the-moment escapism and the collective
power of an audience taking his music to new heights.
 ‘In Praise Of Shadows: B-Sides & Live Versions’ features
rarities and live recordings, mostly taken from rehearsals in
early 2021. With limited opportunities for people to hear the
album in a live setting thus far, this represents an intimate first
glimpse at the magic unique to the full band arrangements.
 This edition is completed by two new bedroom studio
recordings with new single ‘All I Need’ (a Radiohead cover)
perfectly extending the album’s small hours spirit, the raw
emotion of Puma Blue’s voice growing in tandem with the scale
of the initially skeletal production, and the previously unreleased
‘Postcard From Toyko’ exploring loneliness with brutal honesty
and a sparse acoustic atmosphere.
 Crystal clear LP in a deluxe clear PVC sleeve.

Pink Vinyl

‘In Praise Of Shadows’ is a delirious dreamland of soulful
vocals, D’Angelo-ish guitars and muted electronic beats.
Its fourteen tracks are a contemplation on “the balance
of light and dark, the painful things you have to heal
from or accept, that bring you through to a better
place,” says the 25-year-old Puma Blue, real name Jacob
Allen. “It’s about finding light in darkness - and realising
that it’s what got me here today.”
Puma Blue’s nocturnal, soul-searching sound was born
from a decade in which the 25-year-old was plagued
with insomnia, “for literally a decade, I just couldn’t
sleep,” says the cult-acclaimed London
songwriter/producer. That certainly helps to explain the
hazy, late-night “voicemail ballads” of the early EP
releases that propelled him to prominence, 2017’s
‘Swum Baby’ and 2018’s ‘Blood Loss’ earning him a
reputation as affecting chronicler of unrequited love and
inner turmoil.
It’s an intimacy still present across ‘In Praise Of
Shadows’ but there’s also a new maturity and lucidity to
the way in which Allen deals with his demons and
celebrates beauty across his debut album, influenced no
doubt by his journey over the last two years in which a
blossoming romance has finally helped him to sleep
whilst a burgeoning career forced the previously
bedroom-bound songwriter out into the open, driving
him to find new perspectives on loss, love and
everything in-between.
2LP pressed on 180g milky clear vinyl (first pressing
only).

There is definitely something "afro" inspired about this latest EP from Puma & The Dolphin, certainly in comparison to pretty much everything else I've ever heard from him, which includes a great EP on Canadian imprint Chambre Noir and some stellar inclusions on every one of Dj soFa's highly respected "Elsewhere" compilations.

I'm told that while immersed in domestic life during lockdown in Sofia, Bulgaria, the music evolved to take in what was happening at home and saw the inclusion of toy instruments, his own drum playing, the voices of his children playing and even the family parrots whistling and squawking in the background. These random ambient insertions when seen in the context of the hypnotic and percussive rhythms and timbres throughout are oddly reminiscent of the late, great Francis Bebey who, although culturally and physically a million miles removed, was also known for recording much of his work at home and who also featured the voices of his children playing.

In fact, it is as much the music's playfulness and simplicity that give the pieces their distinctive character, at times echoing the repetition and mesmerism of Raymond Scott's "Soothing Sounds For Baby" series. Yet, childrens' music this is not. There is a mysticism and depth on one hand and a willingness to experiment on the other that reminds me of pioneering experimentalist K. Leimer's early Eno-inspired tape outings as well (see "Supermarket" for example).

I asked Puma & The Dolphin's Nikko Names if he could share the story behind how these six tracks came together. He had this to say:

"This collection of pieces were created during a monotone period of my life which I have overlaid with colour: a time in which I surrender to the beauty of home life - watching my kids play, feeding the birds - entwining these sounds of my surroundings amongst the rhythmic layers of these pieces. Playing the drums to remind us of the next circle dance for four. There is something mystic to travel only in your head; a shamanic trip inside the body with no concepts and answers."


"Good stuff ... digging Am Am Am and Supermarket in particular" JD Twitch Optimo Music / Blackest Ever Black / Strut / On-U Sound

"Cool stuff" DJ SoFa Pingipung / Emotional Response / Kalahari Oyster Cult

Repress.
The German boogie compilation 'Boogie on the Mainline' presents a selection of 10 rare disco tracks from Germany plus one more tune from Austria, all of them, originally released between 1980 and 1987. Check!
.
The fully licenced album contains little known tunes by groups like Imagination (which you can also see on the cover of the LP), Squish, Upstairs, The Poptown Syndicate and more. As the Boogie-ish post-disco side of German music history still basically remains undiscovered as of yet, 'Boogie On The Mainline' hopefully will shed some light again on 11 rare gems that were mainly published on small or private labels.

One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

“Heldeep Records celebrates a decade of dancefloor dominance with its first-ever vinyl release: Best of 10 Years. This exclusive double-sided collector’s edition brings some of the label’s most iconic tracks to wax for the very first time — from HI-LO’s Renegade Mastah, Oliver Heldens & Lenno’s This Groove and PBH & JACK’s Lose CTRL to MOGUAI & Kai Tracid’s DT64 and James Hype’s Say Yeah. A landmark release capturing ten years of Heldeep history, energy, and evolution. This is a must-have piece for every Heldeep Records fan.”





e B2 - Vato Gonzalez - Bump & Grind (Bassline Riddim) feat. Scrufizzer

Hannah Nicholson and David Page are London based boat dwellers who have cruised the river Thames whilst writing, playing and self-producing their debut album. Named after their boat Ederlezi it became their muse, refuge and recording studio during 2023.

Ederlezi have taken inspiration from the classic songwriting of the 1960s. Hannah is influenced by songwriters such as Scott Walker, Jackson Browne, Joni Mitchell and is always looking for a story. David is influenced by the guitar based Rock'n'roll of the 50s, the psychedelic 60s and the bass styles of Serge Gainsbourg with some prog rock mixed in.

David is the bass player in The Pretenders and has worked with Jonathan Jeremiah, Young Gun Silver Fox, Rio 18, His Lordship, Nell Bryden, Edwyn Collins, The Black Pumas as a guitarist, bass player, singer and collaborator touring extensively around the world. Hannah is a solo artist in her own right, a prominent troubadour and songwriter on the London Folk scene. She has also worked with Hannah Williams & The Affirmations, Ellie Goulding, Gary Barlow, Jonathan Jeremiah and Nell Bryden as a backing singer and instrumentalist.

Sonic Transmutations is an extended compilation album celebrating over three decades of Clone Records. Marking the 31 years - which is coincidentally the national Dutch telephone code - the 8x12 inch box set draws together veteran talent and emerging iconoclasts, transmitting a frequency rooted the imprint's signature blend of essential dance music while journeying off into territories unknown. In a constant state of unfolding, morphing across phases of matter, Sonic Transmutations purveys an elemental energy that stands in testament to Clone's enduring legacy and explorations of sounds and structures.

Killer Groove Records proudly presents "Keep Your Step", the explosive comeback by Italian rock steady & early reggae ambassadors The Appetizers, a soulful celebration of reggae's timeless spirit.


"Keep Your Step" marks the band's much-awaited return, landing April 10th on limited edition LP, CD digipack and digital format featuring two exclusive bonus tracks.

The Appetizers deliver a masterclass in roots reggae music with their highly anticipated second studio album, bridging Jamaica's golden age with contemporary relevance. "Keep Your Step" is a heartfelt sonic journey where the band blends rocksteady and early reggae with funk and soul influences to create a sound that's both genuine and refreshingly modern.

The fourteen tracks move fluidly between infectious dancefloor fillers and socially conscious lyrics. From the laid-back swing of "Feel Like Dancing" to the hypnotic rhythm of "Thicker Than Water", the band demonstrates their versatility while remaining true to the roots of Jamaican sound. "A Message from The Meters" pays tribute to the legendary funk pioneers, while the instrumental "Catch This" and "Make It Reggay" highlight the band's musical prowess and the deep connections between reggae and funk.

Meanwhile, tracks like "Fussy Girl" and "Behind My Shoulders" explore love's complexities with humor and soul. The album's heart lies in its social consciousness. "Cool and Deadly", "The Life", "Stormy Weather" and the album title track "Keep Your Step" tell stories of perseverance through life's struggles.

With the hopeful anthem "We Shall Overcome," The Appetizers deliver a timely message about genuine human connection in a social media-dominated era. The digital edition closes with "Get Some Rollin'" and "Swing and Sway," rounding out the journey with two additional gems.

"Keep Your Step" pays homage to Jamaican music legends, from Jackie Mittoo and Tommy McCook to Toots & the Maytals, while carving out The Appetizers' own distinctive sound. This is a groove made for both the dance floor and the soul, proving that reggae's power to inspire, unite, and uplift remains as vital as ever.

The production stays true to The Appetizers' signature sound: organic tones, deep groove, and that live-room vibe you only get when real musicians are locked in together. Luca Monza and Claudio Mambrini, the band's core members, handled the artistic production. Mastering came courtesy of the great JJ Golden (Black Pumas, Sharon Jones & The Dap-Kings, Jr. Thomas & The Volcanos, The Frightnrs) at Golden Mastering in Ventura, California. JJ is one of the most trusted engineers working in this sound, ensuring every ounce of warmth and authenticity came through.

The Appetizers are a rocksteady and early reggae band formed in Milan in 2020 by musicians deeply embedded in the Italian and international reggae scene. Musicians from different paths united by a shared vision: recreating that vintage Caribbean and American sound with authenticity, respect and a forward-thinking edge.

Drawing inspiration from Jamaica's golden era and channeling the soul of Delroy Wilson, Alton Ellis, the early Wailers, and The Upsetters, The Appetizers carry forward the essence of bass culture with a pure, fully organic approach.

Their debut album Listen Up! (2022), released via Belgian imprint Badasonic Records (home to The Slackers, The Aggrolites, David Hillyard & Victor Rice), featured ten original tracks and a dub cut by Victor Rice. Distributed across Europe, the UK, the US, and Japan, it quickly earned international recognition among reggae connoisseurs and selectors worldwide.

Following extensive touring, including shows with The Slackers, Black Uhuru, Skip Marley, and more, the band returned to the studio to record "Keep Your Step", their second album produced by Killer Groove Records. Here the band expands its musical language, weaving together the spirit of historic Jamaican labels like Studio One and Treasure Isle with '60s funk, arriving at a warm, organic, and timeless sound: soul, Jamaican roots, and modern sensibility in perfect balance. Their lyrics explore heartbreak, social issues, and reflections on life and music, performed with dedication and respect for tradition while always pushing forward.


If you're into The Skatalites, The Ethiopians, and those classic Caribbean rhythms, this one's for you.

Der in Paris geborene Soulsänger und Songwriter Tiwayo, der wegen seiner zeitlosen, ausdrucksstarken Stimme den Spitznamen ,The Young Old" hat, gibt die Veröffentlichung einer limitierten 45er-Vinyl-Single bekannt, die zwei herausragende Tracks aus seinem kommenden Album Outsider enthält - produziert vom Grammy-Gewinner Adrian Quesada von den Black Pumas. Die am 20. Februar erscheinende 7"-Single vereint den Up-Tempo-Soul-Stomper ,Up For Soul" auf der A-Seite mit dem strahlenden und herzerwärmenden ,Sunshine Lady" auf der B-Seite. Mit einer limitierten Auflage von weltweit 500 Exemplaren ist diese Single ein Muss für Funk-/Soul-DJs und Sammler. ,Ich wollte, dass das Album einen Up-Tempo-Track hat, der wirklich bewegt", sagt Tiwayo über ,Up For Soul". ,Eines Nachmittags hörte ich Sly Stone und Johnny Guitar Watson, und am Ende des Tages war dieser Song geboren. Es ist eine spielerische Auseinandersetzung mit den Höhen und Tiefen des Musikerlebens - dem Trubel, der Freude und dem Chaos -, alles verpackt in der Soul-Energie der 70er Jahre." Aufgenommen mit Adrian Quesada und mit einem üppigen Streicharrangement von Sly5thAve, ist der Track ein Beweis für Tiwayos Fähigkeit, klassischen Soul frisch und lebendig klingen zu lassen. Auf der anderen Seite glänzt ,Sunshine Lady" als Moment der Zärtlichkeit und Hoffnung. ,Ein Freund hat mir mal gesagt, dass ich immer traurige Songs schreibe", lacht Tiwayo. ,Also habe ich versucht, etwas Fröhliches zu schreiben. Der Song handelt von Dankbarkeit - von der Person, die dich auffängt, wenn du am Boden bist. Er ist einfach, gefühlvoll und voller Licht." Mit dem geschmeidigen Rhythmus von Jay Mumford (Schlagzeug) und Terin ,Moswen" Hector (Bass) strahlt ,Sunshine Lady" den warmen, analogen Spirit eines verlorenen Soul-Klassikers der 70er Jahre aus. Beide Tracks sind eine Vorschau auf Tiwayos mit Spannung erwartetes drittes Album ,Outsider", das am 10. April 2026 erscheinen soll - eine Zusammenarbeit zwischen Tiwayo und Adrian Quesada, die Pariser Soul mit der rohen Hitze des Südens von Austin verbindet.

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

Candiria’s classic album 300 Percent Density reissued on vinyl in February Hailing from Brooklyn, New York, Candiria is one of the precursors of the mathcore genre. Formed in 1992 by vocalist Carley Coma, guitarists Chris Puma and Eric Matthews, and drummer/bassist/keyboardist/trumpeter Kenneth Schalk, the band was part of the second wave of New York hardcore, but subsequently expanded its performance to also play jazz, hip hop and progressive rock. 300 Percent Density is Candiria’s fourth studio album, originally released by Century Media in 2001. Critically praised for its experimental mix of metal, jazz, hip-hop, and hardcore, the album’s intricate arrangements and adventurous sound have made it a classic, stated by fans and critics as the band’s best work to date. The 25-year-old album is available on wax again in February 2026 via Svart Records. “Candiria have always been—and remain—a favorite among the group’s peers, because musicians already possess the vocabulary to understand the intricacy of the band’s arrangements and the tireless care and craft that went into perfecting them. Like the Dillinger Escape Plan and Converge, Candiria pressed hard to break through the monoculture of metal’s awkward transitional years and pave the way for similarly experimental bands.” -Decibel Magazine

Candiria’s classic album 300 Percent Density reissued on vinyl in February Hailing from Brooklyn, New York, Candiria is one of the precursors of the mathcore genre. Formed in 1992 by vocalist Carley Coma, guitarists Chris Puma and Eric Matthews, and drummer/bassist/keyboardist/trumpeter Kenneth Schalk, the band was part of the second wave of New York hardcore, but subsequently expanded its performance to also play jazz, hip hop and progressive rock. 300 Percent Density is Candiria’s fourth studio album, originally released by Century Media in 2001. Critically praised for its experimental mix of metal, jazz, hip-hop, and hardcore, the album’s intricate arrangements and adventurous sound have made it a classic, stated by fans and critics as the band’s best work to date. The 25-year-old album is available on wax again in February 2026 via Svart Records. “Candiria have always been—and remain—a favorite among the group’s peers, because musicians already possess the vocabulary to understand the intricacy of the band’s arrangements and the tireless care and craft that went into perfecting them. Like the Dillinger Escape Plan and Converge, Candiria pressed hard to break through the monoculture of metal’s awkward transitional years and pave the way for similarly experimental bands.” -Decibel Magazine

NEW MISERABLE EXPERIENCE are a Philadelphia-rooted collective that reshapes heavy-music rigour into expansive, melody-forward songs through alternative synth-rock. What started as a file-trading collaboration between vocalist/bassist David Grossman (ex- ROSETTA) and multi-instrumentalist Joshua Mahesh Kost expanded into a full band that now includes ROSETTA drummer Bruce "B.J." McMurtrie Jr., technical-metal bassist Brett Bamberger (REVOCATION), and guitarist Brody Uttley (RIVERS OF NIHIL). The group forgoes technical exhibitionism in favour of mood and melody, composing introspective songs designed to reward close listening. Across the twelve tightly arranged tracks of 3rd album "Gild The Lily", the band pares its palette to essential elements: clear melodies, precise dynamics, and richly textured production. The album trades overt bombast for craft, building emotional weight through small gestures and patient arrangements rather than moments of spectacle. "We started saying `infinite sadness' as a bit of a catch phrase with the last album. I think that sums up the vibe of the album and project overall. We are very much in the `sadboi' world with Jeff Buckley, Puma Blue, Radiohead, Deftones, The Black Queen", says Grossman. Sonically, `Gild the Lily' combines alternative synth rock with chorus-tinted guitars, and a rhythm section that alternates between taut propulsion and roomy, reverb-soaked space. The arrangements both electronic and instrumental negotiates smooth and slick danceability alongside sinister edges. The band's aesthetic is one of deliberate economy: textures are chosen to serve mood and narrative rather than technical exhibitionism, and arrangements reveal their depth across repeated listens. Slick, sorrowful and cinematic in atmosphere, `Gild the Lily' is an eclectic collection that can not only groove in vibe and inspire movement, but also pierce to the nerve in ethereal lamentation. RIYL Crosses * Black Queen * Ulver * Vowws * Rosetta * Revocation * Rivers of Nihil

Nach einer Tourpause zogen Black Pumas 2024 los, um ihr gefeiertes zweites Album 'Chronicles of a Diamond' live vorzustellen. 'Live From Brooklyn Paramount' fängt das 'Electric Church'-Live-Erlebnis ein, für das Eric Burton, Adrian Quesada und ihre sechsköpfige Band sich einen Namen gemacht haben. Das 2xLP-Set enthält Songs sowohl von Chronicles als auch von ihrem millionenfach verkauften Debüt, darunter die Grammy-nominierten Songs 'Colors', 'Black Moon Rising', 'More Than A Love Song' und ihre Version von Tracy Chapmans 'Fast Car'.

NYC electronic music collective P.E. return with their third and final album Oh!, due October 3 on Wharf Cat Records. Oh! Is the sound of a startled exclamation punctuating an exit, and the embodiment of the music within: fun and fluorescent, fluid and flirty, dirty and a little dangerous. From their conception in 2017 through the NOPE Tape series, P.E. existed as an experiment in co-conspirited collaboration. Oh! continues to cast a wide net, featuring an expanded lineup from their original formation, including Eleanor Friedberger of The Fiery Furnaces on the lead single "Color Coordinator". The resulting music ranges wide as ever, from the jubilant grooves of the title track and "Color Coordinator" to "The Fiction Writer" - a tender duet between Veronica Torres and Jonny Campolo - through the city pop sounds of "(Do You Like) So So?" and "Purple On Time", and into the abstracted beyond. This isn't a goodbye, but a "see you around". A tear falls down the cheek of a stranger, dancing as they catch your smile in the reflection of a glass building. Ceremoniously, serendipitously, they sidewalk surf away, stepping on something sharp - "Oh!" - leaving a teardrop on the city pavement. Following the last P.E. show, Jonny Campolo fully embraced his persona of The Grayscale Clown. You can hear him crooning in pets (along with Nick Campolo and Chase Ceglie) and droning in Microfibers (featuring Keegan & Eugene of Decor). His brother Nick Campolo successfully uploaded his consciousness to the cloud. He & his simulacrum perform in the aforementioned pets and solo as Nick Nun Ca. Ben Jaffe was in a freak nuclear waste accident when his DNA merged with a puma - he is now known as The Puma Man. You can catch him prowling around NYC with Sleaze Generator and as a sax beast for hire. Bob Jones went on a silent meditation and forgot how to speak. He now quietly releases music under the name R.A. Jones (as on his recently released Whispered to A Child), and as Scythe with David West (on A Colourful Storm). Jonathan Schenke disappeared for six months without a trace; when he returned he had developed a nervous tic anytime he heard a 909 rimshot or a saxophone. His recent solo album Passages (on No Gold) features neither of the above, nor does his project Gift Horse with Matthew Hord. Veronica Torres headed west to pursue her studies, developing a ceramic polymer whose beauty has caused madness in certain individuals. Her band Cha Cha 9 is a darling of the Minneapolis scene. P.E. would like to say thank you from the bottom of our hearts to everyone who listened to our records and danced at our shows - your love is felt. Thank you so much to Wharf Cat Records for all of the support over the years. Thank you to the fans. Thank you Pill and Eaters. Mitwirkende

Der mehrfach ausgezeichnete Produzent und Black-Pumas-Mitgründer Adrian Quesada schlägt ein neues Kapitel auf: Mit 'Boleros Psicodélicos II' interpretiert er die sinnliche Balada-Tradition Lateinamerikas neu - detailverliebt, psychedelisch und mit starkem modernen Twist. Unterstützt von Künstler:innen wie Angelica Garcia oder Hermanos Gutiérrez entstehen Klangbilder zwischen Nostalgie und Gegenwart. Ein Album für Liebhaber:innen romantischer Grooves und audiophiler Entdeckungen.

- Ltd. Col. LP: (Sunny Orange Vinyl)

Limited 180g black vinyl (500 copies worldwide)
“Marcel Wave combine sharp-eyed Northern lyricism with DIY guitar-janglers rooted in a retro C86 aesthetic. Epic finale ‘Linoleum Floor’...is a gloriously bleak rumination on the horrors of enforced late-night hedonism worthy of prime Pulp” UNCUT
Marcel Wave write eulogies for tragic actresses, ancient riverbeds and concrete obscenity. Their inaugural sonic instalment ‘Something Looming’ is part trades club symphony, part itchy serenade, and part wistful lament. As their heady concoction of ‘Meades meets Pat-E-Smith meets Kirklees Borough Council’ gets prepped to be formally baptised on a dank stage near you, Upset the Rhythm and Feel It Records have dutifully stepped in to deliver its songbook to the masses on both sides of the pond.
Formed when Lindsay Corstorphine and Christopher Murphy of Sauna Youth and brethren Oliver and Patrick Fisher of Cold Pumas were summoned by northern ink-slinger Maike Hale-Jones, Marcel Wave’s debut offering is a walk through a smoke-filled pub with yellowing wallpaper and all eyes on you. It’s a chronicle of the death of the docklands, the decline of industry, of the high street, of civic pride, of civilisations, of hopes and dreams. As Hale-Jones delivers the bad news in her low, West Yorkshire brogue, Corstorphine adds the bells and whistles via the frantic pulsations of a wheezing Hohner organ in tandem with Fisher O’s rasping guitar. MW are completed by the throbbing basslines of Murphy and Fisher P’s fervent rhythms.
The title itself sets the tone for the listener. There’s a sense of foreboding in Hale-Jones’ lyrics which sit at the quintet’s core—elegiac, sardonic and piquant in equal measure. A mixture of narrative epilogues and inward paeans, her words weave tales across a broad thematic church. Crooked tales of urban renewal and the voices left behind are probed in ‘Barrow Boys’ and ‘Stop/Continue’ and are at the fore in ‘Where There’s Muck There’s Brass’ with its refrain lamenting ‘Concrete and slate shine in the rain, cities destroyed, nothing to gain’. In these lyrics, tower blocks loom over terraced houses with the same shadows that the Hollywood sign casts over Peg Entwistle before she takes her tragic leap. ‘Peg’ and ‘Elsie’ are both meditations on two different actresses with different fates crushed by the cut-throat trappings of showbusiness: ‘The mad hopes break, fragile as glass. She traded it all, for the cutting room floor.’ A snaking, existential dread also runs through the album, stated more obliquely in the otherwise poppier interludes of the title track ‘Something Looming’ and album opener ‘Bent Out of Shape’, and present too on the comparatively ramshackle ‘Discount Centre’, where Hale-Jones reports ‘On a mini bus on the outskirts of Enfield, I’m losing all of my spark’. On the album closing weeper ‘Linoleum Floor’, it is laid barer still—a keyboard-led reflection on the deflating nights out of our early-twenties.
Marcel Wave invites the listener to dance to society’s decline, and then to later weep into its lukewarm pint.

Die Ära der Mix-CDs mag schon lange vorbei sein, doch wenn man sich 'Midnight Ragas' anhört, das neue Album des legendären Downtempo-Produzenten und Thievery Corporation Mitbegründers Eric Hilton, könnte man der Meinung sein, sie wäre nie weg gewesen. Man stelle sich Khruangbin vor in noch entspannter, wie sie einen alten Billy Dee Williams-Werbespot für Malt Liquor vertonen, neu abgemischt von Zero 7, und man kommt der Sache schon sehr nahe. 'Midnight Ragas' - ein süchtig machendes Hörerlebnis.Auf dem Album sind auch die Thievery Corporation-Mitglieder Natalia Clavier und Puma Ptah zu hören.'Midnight Ragas' ist Erics 8. Solo-Studioalbum und der Nachfolger von Sound Vagabond und seinem Ambient-Album Out of the Blur.- Ltd. Col. LP: (Bone Color Vinyl)Tracklist LP:A-SeiteA1. Life (In The Deep End)A2. Leave It All (feat. Puma Ptah)A3. Je ne t’aime plus (feat. Natalia Clavier) videoA4. Behind My Eyes (feat. The Infinite Daisy Chains)A5. All I Want (feat. Puma Ptah)A6. Burkina FasoB-SeiteB1. Midnight RagaB2. Sol Interior (feat. Natalia Clavier)B3. Galactic ShineB4. Madame AshaB5. L’Ocean (feat. Natalia Clavier)B6. Beautiful Moment (feat. The Infinite Daisy Chains)

First single from the Smith Brothers’ upcoming second full-length album, Street Light Moon, released on Ubiquity. Recorded in Austin, Texas, and produced by Adrian Quesada (Black Pumas) at his Electric Deluxe studio.

Full page feature in Wire Magazine (March 2025, Issue 493) 'the freak audio series continues with the lysergic You Didn't Hear It From Me which combines dubbed out sampledelia and metallic beats with ghostly saxophone soaked in an acid bath'

Polonius AKA Egyptian-French artist Seif Gaber, whose works spans a decade of “science fiction archeomiragical time travel" explorations and is an important piece of the healthy electronic/far out mosaic in Milan.

With a considerable number of releases under his name, both self released and through such likeminded labels as Ikuisuus, Goaty Tapes or Sun Araw's Sun Ark, Polonius grand vision encompasses a myriad of languages culled from kosmische travelings, exotica's dreamlands, soundtrack psychedelia, spiritual jazz escape routes and transmuted beat science to convey them into a sonic fiction where all these trails intertwine in a cosmological soundscape filled with wonder and speculation.

Building on last year's more beat-centric excursions of his self-titled vinyl debut on Stoned to Death, Polonius' first entry into the Discrepant extended family via Souk finds him dwelling deeper into rhythmic mystic extrapolations through a series of hallucinatory tracks. Conveying jungle's kinetic energy, dubwise meditations on bass weight, collapsing beats, globetrotting percussion accents and synth-driven night drives, 'You Didn't Hear It From Me' finds Polonius with a strong sense of purpose and direction, reconvening bits and pieces from the netherworld into a more urban scenario, not quite any we can stand or dance on. Just dream of.

Cool, sentimental und voller Sehnsucht - dass die Musik von Chet Baker zeitlos ist, beweist ihre ungebrochene, immer wieder neue Popularität. Seine instrumentalen Aufnahmen zählen zu den Klassikern des Jazz,
aber spätestens als Sänger wurde der Trompeter auch zur Pop-Ikone.
Vor 70 Jahren erschien sein berühmtes Album “Chet Baker Sings”, das heute noch Bestseller ist und
dessen Einfluss auch in der Pop-Musik zu spüren ist. Die Macher der erfolgreichen Albumprojekte “Blue
Note Re:imagined” hat das auf eine Idee gebracht.
„Chet Baker Re:Imagined“ ist jetzt das erste Tributealbum, das Chet Bakers musikalisches Erbe feiert.
Junge Künstler der aktuellen akustischen und elektronischen Musikszene kommen auf dem Album zusammen, um ihre Versionen von Baker-Klassikern zu präsentieren.
Viele der auf „Chet Baker Re:Imagined“ vertretenen Musiker und Musikerinnen haben sich auf digitalen
Plattformen bereits ein großes Publikum erarbeitet (20 Million combined audience). Mit diesem Projekt
beweisen sie sich mit mal lässigen, mal melancholischen Tracks als Chet-Baker-Fans. Die internationale
Bandbreite geht von UK (dodie, Matt Maltese Matilda Mann, Joel Culpepper, Ife Ogunjobi vom Ezra Collective, Hohnen Ford, Eloise, Puma Blue), über USA (Delaney Bailey, mxmtoon), Kanada (Stacey Ryan),
die Niederlande (Benny Sings) und Australien (grentperez) bis hin zu Südkorea (Sara Kang)

Gregg Green brings his signature soulful sound which is perfectly complemented by the musical production style's of Pimpernel Jones (Herma Puma). Both sharing a deep-rooted passion for creating soulful, engaging music that uplifts and inspires their listeners.

Title track 'Hypocrite' is a calling out to the hypocrisy of the ruling entities in power. The B side 'You'll See' is meant as a warning for those entering the field of dreams to be aware and stay strong in their values.

Cover by Dan Lish (ego strip).

Folgeformat der transparent-roten Erstauflage (39226201) auf schwarzem Vinyl.

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

14 freshly baked Hip Hop tracks from the best of the global underground.
Including Bugseed, Don Leisure, HashFinger and El Jazzy Chavo to name a few.
This limited edition 12" vinyl will also come with issue 2 of a 3 part comic book series illustrated by Dan Lish (ego strip).

Global icon ROSÉ has announced her first studio album rosie - arriving December 6th via Atlantic Records. The 12-track collection marks ROSÉ’s most personal and candid release to date, with her co-writing and co-producing the project in its entirety.

As a member of BLACKPINK, one of the best-selling girl groups of all time, ROSÉ has shattered records, performed on the most heralded stages, and amassed millions of fans around the world. On her own, the Korean-New Zealand superstar’s 2021 single “On The Ground” debuted at #1 on the Billboard Global 200 chart and became the highest-charting song by a solo K-pop female on the Billboard Hot 100. Simultaneously, ROSÉ has been an unstoppable force in fashion as global ambassador for renowned brands including Saint Laurent, Tiffany & Co, Rimowa and Puma. Her influence in music, fashion and philanthropy has led to her having over 79M followers on Instagram as she is a testament to the growth of Korean influence in music and fashion on a global scale.

Chapter 3 der erfolgreichen Compilation-Serie. 14 moderne Kraut-Elektronik-Tracks (3 davon exklusiv und vorher unveröffentlicht) inspiriert von Kraftwerk, Can, Neu!, Cluster, Klaus Schulze und vielen anderen. Kuratiert und zusammengestellt von Compost-Künstler Fred und Luna. Die Collage auf dem Cover wurde - wie schon auf Vol. 1 und 2 - exklusiv von der fantastischen Künstlerin Norika Nienstedt aus der Kraut-Metropole Düsseldorf gestaltet.

Rainer Buchmüller aka Fred und Luna ist leider nach langer Krankheit im Januar 2024 verstorben. Er war ein herzensguter Mensch, begnadeter Künstler, Freund und Wegbegleiter. Wir trauern sehr um ihn. Rainer Buchmüller hatte uns ein paar Tage vor seinem Tod das Tracklisting für Vol. 3 (und auch schon Ideen für Vol. 4) geschickt, mit der Bitte, dies posthum zu veröffentlichen, es würde ihn sehr freuen, wenn seine Fans und alle die es noch werden, ein „Lebenszeichen“ von ihm erhalten. Gar nicht einfach oder im Grunde unmöglich, den Begriff „Kraut“ stilistisch zu beschreiben. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er- und 1980er-Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken. Nach dem großen Erfolg von Volume 1 und 2 knüpft Vol.3 stilistisch an seinen Vorgänger an, und darüber hinaus – da dies eine der Grundideen der Reihe ist – das musikalische Spektrum Schritt für Schritt um neue krautige Elemente erweitert.

The soundtrack to the acclaimed 2024 indie comedy "Home Free" is produced by Adrian Quesada (Black Pumas, Grupo Fantasma) and features songs by Quesada, J. Mascis, Mix Master Mike, Fatlip (Pharcyde), Lucious Jackson, James Petralli (White Denim), Neal Francis, Ben Kweller, and many more. It's an eclectic blend of hip hop, funk, and more stripped down, singer-songwriter tracks, that help bring to live this coming-of-age story set in the 1990s.

Rosie Lowe, die gefeierte britische Singer-Songwriterin und Produzentin, veröffentlicht ihr brandneues und drittes Album 'Lover, Other' auf dem Londoner Tastemaker-Label Blue Flowers Music. Musikalisch entzieht sich 'Love, Other' jeglicher Kategorisierung, ist Genre-fluid par excellence, gekonnt zusammengehalten durch Rosie Lowes makellosen, fast mühelosen Gesang. Das Album ist ein Patchwork-Wandteppich voller Komplexität und Tiefe, das ihren inneren Dialog offenlegt. Produziert hat Rosie Lowe 'Love, Other' in Eigenregie mit Unterstützung von Harvey Grant (Kerala Dust, Puma Blue) und D’Monk.

Four years after releasing their debut record, Indus are back in 2024 with Negra, their second album. This record explores the essence of the night through dance, seduction and mystery, while paying homage to Colombian amphibious cultures and the land as that place that has seen us moving and that we always return to. With these ten songs Barranquilla producer Oscar Alford, along with Andres Mercado and a select group of collaborators, builds a bridge between the sounds and histories of the Pacific and the Caribbean, bringing together territories like a river running through them and connecting them. Oscar says that on this record "there's this confluence of various cultural universes, on the one hand there's the traditional music of the coast and river areas, there are various maestros who collaborated on the record and they brought that, also there's electronica which is a universal language, and even hip hop and more urban genres like dembow." The record kicks off with "Deja," a ritual of initiation, a galactic, synthetic entrance into a place of plenty, a journey to the ethereal and the night. It's followed, like light and guide, by the song "Alfa Indi," with Gamero singer Nelda Piña, a release of electronic sounds evoking creation in all its senses. The night is an excuse for and a generator of desire, seduction and flirting in "Candela tu Trá," in collaboration with Tomás Llerena, grandson of the legendary Petrona Martínez. The earth is evident in tracks like "Canción del muerto," homage to the marimba maestro Gualajo, with his brother Pacho Torres and Bogotá rapper N. Hardem, a song that could be a farewell ritual and tribute to the land as the place to which we always return, one that holds the history of those who walked that land and left their mark on it. We hear this in "Corre Cimarrón" with Ka Oddun, portraying the journeys of fleeing enslaved ancestors as they tried to survive until they reached the palenque, a place of freedom. Negra explores the mysticism of the night and the cosmos within the Colombian musical tradition. A dialog between root rhythms, voices and synths with bases oscillating between techno-champeta, afro-tech and future-dembow. With this record Indus comes across as one of the most versatile acts on the Latin American scene, especially in the way they reinterpret ancestral music and resignify its sound.

Black Uhuru wurde Mitte der 70er Jahre gegründet und stürmte in den frühen 80er Jahren wirklich in die Reggae-Szene, als Sly & Robbie die künstlerische Leitung übernahmen und wichtige Alben wie Showcase, Sinsemilla, Red, Chill Out und Anthem produzierten (beachten Sie, dass es sich um eine großartige Sammlung ihrer Alben handelt). Singles für Sly & Robbies TAXI-Label sind auf TAXI TRAXX erhältlich und wurden letztes Jahr von TABOU1 veröffentlicht.

Die Alben waren nicht nur künstlerisch bahnbrechend, auch die Live-Shows waren großartig. Eine Lawine aus kraftvollem Drum and Bass, ergänzt durch grenzwertige Metal-Rock-Gitarren des verstorbenen Darryl Thompson, lieferte ein Fundament aus Rhythmus und Energie für Michael Roses Lead-Gesang und Duckie Simpsons und Puma Jones‘ Backing-Gesang.

Die erste US-Tournee von Black Uhuru fand 1982 statt. Damals steckte Reggae in den USA noch in den Kinderschuhen und es gab nur drei Reggae-Radiosendungen in Kalifornien: Doug Wendt in San Francisco, Roger Steffens in LA und Lance Linares in Santa Cruz. Lance leitete nicht nur seine Radiosendung bei KUSP, sondern buchte auch Künstler in Santa Cruz und arbeitete mit dem Soledad-Gefängnis zusammen, um Insassen dabei zu helfen, berufliche Fähigkeiten zu erwerben, die sie nach ihrer Entlassung aus dem Gefängnis nutzen könnten. Lance kontaktierte die Organisation Black Uhuru und bot an, ein Konzert im Gefängnis selbst zu organisieren. Zu seiner Überraschung wurde seine Idee begeistert angenommen und die Gruppe trat vor vollem Haus im Soledad-Gefängnis auf.

Was wir auf dieser Doppel-LP hören, ist das gesamte Konzert, das live auf KUSP übertragen wurde. Seine historische Bedeutung ist enorm und kann mit dem Reggae-Äquivalent der legendären Live-Aufnahme der amerikanischen Legende Johnny Cash in Folsom verglichen werden. Außerdem wurde das Konzert per Video aufgezeichnet. Wir haben das Video mit modernster Technologie restauriert und Schlüsselmomente des Konzerts kuratiert. Jedes dieser Videos kann mit der Artivive-Anwendung auf ein Smartphone gestreamt werden. Sobald die App installiert ist, können Benutzer die Videos ansehen, indem sie ihr Telefon auf die Fotos auf dem Plattencover (von Bruno Tilley) richten, die mit dem Artivive-Logo gekennzeichnet sind. TABOU1 ist stolz darauf, das erste Plattenlabel zu sein, das diese Augmented Reality-Funktion anbietet.

It's the one all the massive have been waiting for! Part 2 of the Salford sage - DJ Absolutely Shit's 'Memoirs Of A Crust Monster'. More hyped up tear outs, soundsystem ruffage, and bass 'n breaks love songs from our Hell's Angel-dodging beat freak.

Kicking things off with glowing neons and super-charged subs is 'Higher', a modern jungle monster decorated with classic hip-hop samples and a well known diva vox squealing through the melee.
A serious 'watch your bassbins' track - RL HQ have safety tested this on the most robust car stereo systems and so far have yet to avoid any cabinet damage - proceed with caution!

'Lost In Space' rolls outta the speaker stacks with a b-boy swagger and loose breaks. A tribute to classic breakdance electro galvanized with Ab Shit's intricate trademark production chops. You'll want to crack out your finest red Puma classics and a slick tracksuit for this one.

Onto 'Out On Love' and between you and me, someone needs to call the social service for samples - as it's unlikely you'll ever witness a more blatant case of sample molestation. Squeezing every last drop out of a catchy piano lick, TV snippet and drum break; the track really does highlight the unrivaled programming prowess of our Irlam renegade who's taken SP1000 trickery to its absolute zenith.

'Money Talks' sees our cheeky ragamuffin dictate a life affirming sunrise over Pomona - pre-gentrification of course; a thousand smiles and memories of old Mancunia shimmering in the early morning industrial haze. And an abject slight at those who put profits above people - another poignant ode to our changing cityscape driven by the most addictive boogie-based groove and clattering Linn drums.

Spine-tingles and fanny flutters guaranteed ALL DAY on this one cru!
Look out for the full 16 track album due on C90 cassette and digi download coming very soon...

RL x

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei



Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, itcomes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.



Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequentLPs, Wallflower and Origin, came out on Ninja Tune, the former#2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:



As Jordan says,there’s so much more to the song selection on Late Night Tales’latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.



Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in mycareer,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.



Snowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive,original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a familyaffair. Not theblood is thicker than water kind, but certainly musical kindred spirits.

Dettinger’s Intershop and Oasis have long been held, by many fans of ambient and electronic music, to be some of the finest albums in their field. Produced by the mysterious Olaf Dettinger, about whom not much is publicly known, they were some of the earliest full-lengths released by the then-nascent Kompakt, and in many ways, they both articulated and defined the sound that would come to be known as Pop Ambient, while also existing, somehow, to the leftfield of any clearly recognisable genre.

Beautiful, sui generis works, it is a rare pleasure to see them being reissued on vinyl for a new generation of listeners to embrace. Originally released on CD only in 1999, Intershop was Kompakt’s first artist full-length. The music here simmers and broods, with opulent banks of tone marking out territory for rhythms that seem to be built from the clacking detritus of technology – hisses, thunks, knocks. Bass is deployed carefully, each drop a dubbed-out depth charge; drones spin and spiral, warping and weaving between the beats.

Oasis, released in 2000, refined the palette that Dettinger had explored on its predecessor. A blurred crusade of ambient texturology, its unassuming patterns, and subtle, incremental dynamics, admit to real beauty, and a kind of abstract sensuality that you don’t often experience with music that is, perhaps, similarly tooled, but not as poetic. Through seemingly simple gestures – whether lushly expansive repetitions, hyper-acute tremolo tones, or ear-tickling rhythms – it builds complex emotional resonance. It’s no surprise to discover Oasis is held in high esteem by artists like Panda Bear of Animal Collective, who once said of Dettinger, “For us, he was the dude.”

There is, of course, other music to know Dettinger by, too – his three excellent EPs for Kompakt, Blond (1998), Puma and Totentanz (1999), the latter of which, Michael Mayer once argued, “invented dubstep.” There is also a small, yet graceful run of compilation contributions, many of which can be found on Kompakt’s Total and Pop Ambient series. All this music has plenty to recommend it, sharing a clarity of purpose, and a rare, human warmth and depth. But Intershop and Oasis are the releases that distil Dettinger’s singular vision, and allow him, should he wish, to claim his place as a modern master of ambient and electronic music.
Dettingers Intershop und Oasis werden von vielen Fans von Ambient und elektronischer Musik seit langem als einige der besten Alben in diesem Bereich angesehen. Produziert von dem mysteriösen Olaf Dettinger, über den nicht viel bekannt ist, gehörten sie zu den ersten Alben, die von der damals aufstrebenden Plattenfirma Kompakt veröffentlicht wurden. In vielerlei Hinsicht formulierten und definierten sie den Sound, der später als Pop-Ambient bekannt werden sollte, während sie gleichzeitig irgendwie links von jedem klar erkennbaren Genre existierten.

Es ist eine seltene Freude zu sehen, dass diese wunderschönen Werke auf Vinyl wiederveröffentlicht werden, um sie einer neuen Generation von Hörern zugänglich zu machen. Ursprünglich wurde Intershop 1999 nur auf CD veröffentlicht und war Kompakts erstes komplettes Künstleralbum. Die Musik hier brodelt und brütet, mit opulenten Klangbänken, die das Territorium für Rhythmen abstecken, die aus dem klappernden Gerümpel der Technik gebaut zu sein scheinen – Zischen, Klopfen, Schaben. Der Bass wird sorgfältig eingesetzt, jeder Drop ist eine synchronisierte Tiefenladung; Drones drehen und winden sich spiralförmig und verflechten sich zwischen den Beats.

Oasis, das im Jahr 2000 erschien, verfeinerte die Palette, die Dettinger auf seinem Vorgänger erkundet hatte. Ein verschwommener Kreuzzug der Ambient-Texturologie, dessen unaufdringliche Muster und subtile, schrittweise Dynamik echte Schönheit und eine Art abstrakter Sinnlichkeit zulassen, die man nicht oft bei Musik erlebt, die vielleicht ähnlich ausgestattet, aber nicht so poetisch ist. Durch scheinbar einfache Gesten – seien es üppig ausladende Wiederholungen, hyperakute Tremolotöne oder ohrenbetäubende Rhythmen – baut sie eine komplexe emotionale Resonanz auf. Es ist keine Überraschung, dass Oasis von Künstlern wie Panda Bear von Animal Collective hoch geschätzt wird, der einmal über Dettinger sagte: “Für uns war er DER Typ”.

Es gibt natürlich auch noch andere Musik, die Dettinger bekannt macht – seine drei ausgezeichneten EPs für Kompakt, Blond (1998), Puma und Totentanz (1999), von denen letztere, wie Michael Mayer einmal kühn behauptete, “den Dubstep erfand”. Es gibt auch eine kleine, aber feine Reihe von Compilation-Beiträgen, von denen viele auf Kompakts Total- und Pop-Ambient-Serien zu finden sind. All diese Musik ist sehr empfehlenswert und zeichnet sich durch eine klare Zielsetzung und eine seltene, menschliche Wärme und Tiefe aus. Aber Intershop und Oasis sind die Veröffentlichungen, die Dettingers einzigartige Vision destillieren und es ihm ermöglichen, seinen Platz als moderner Meister der Ambient- und elektronischen Musik zu behaupten, sollte er dies wünschen.

Dettinger’s Intershop and Oasis have long been held, by many fans of ambient and electronic music, to be some of the finest albums in their field. Produced by the mysterious Olaf Dettinger, about whom not much is publicly known, they were some of the earliest full-lengths released by the then-nascent Kompakt, and in many ways, they both articulated and defined the sound that would come to be known as Pop Ambient, while also existing, somehow, to the leftfield of any clearly recognisable genre.

Beautiful, sui generis works, it is a rare pleasure to see them being reissued on vinyl for a new generation of listeners to embrace. Originally released on CD only in 1999, Intershop was Kompakt’s first artist full-length. The music here simmers and broods, with opulent banks of tone marking out territory for rhythms that seem to be built from the clacking detritus of technology – hisses, thunks, knocks. Bass is deployed carefully, each drop a dubbed-out depth charge; drones spin and spiral, warping and weaving between the beats.

Oasis, released in 2000, refined the palette that Dettinger had explored on its predecessor. A blurred crusade of ambient texturology, its unassuming patterns, and subtle, incremental dynamics, admit to real beauty, and a kind of abstract sensuality that you don’t often experience with music that is, perhaps, similarly tooled, but not as poetic. Through seemingly simple gestures – whether lushly expansive repetitions, hyper-acute tremolo tones, or ear-tickling rhythms – it builds complex emotional resonance. It’s no surprise to discover Oasis is held in high esteem by artists like Panda Bear of Animal Collective, who once said of Dettinger, “For us, he was the dude.”

There is, of course, other music to know Dettinger by, too – his three excellent EPs for Kompakt, Blond (1998), Puma and Totentanz (1999), the latter of which, Michael Mayer once argued, “invented dubstep.” There is also a small, yet graceful run of compilation contributions, many of which can be found on Kompakt’s Total and Pop Ambient series. All this music has plenty to recommend it, sharing a clarity of purpose, and a rare, human warmth and depth. But Intershop and Oasis are the releases that distil Dettinger’s singular vision, and allow him, should he wish, to claim his place as a modern master of ambient and electronic music.

Dettingers Intershop und Oasis werden von vielen Fans von Ambient und elektronischer Musik seit langem als einige der besten Alben in diesem Bereich angesehen. Produziert von dem mysteriösen Olaf Dettinger, über den nicht viel bekannt ist, gehörten sie zu den ersten Alben, die von der damals aufstrebenden Plattenfirma Kompakt veröffentlicht wurden. In vielerlei Hinsicht formulierten und definierten sie den Sound, der später als Pop-Ambient bekannt werden sollte, während sie gleichzeitig irgendwie links von jedem klar erkennbaren Genre existierten.

Es ist eine seltene Freude zu sehen, dass diese wunderschönen Werke auf Vinyl wiederveröffentlicht werden, um sie einer neuen Generation von Hörern zugänglich zu machen. Ursprünglich wurde Intershop 1999 nur auf CD veröffentlicht und war Kompakts erstes komplettes Künstleralbum. Die Musik hier brodelt und brütet, mit opulenten Klangbänken, die das Territorium für Rhythmen abstecken, die aus dem klappernden Gerümpel der Technik gebaut zu sein scheinen – Zischen, Klopfen, Schaben. Der Bass wird sorgfältig eingesetzt, jeder Drop ist eine synchronisierte Tiefenladung; Drones drehen und winden sich spiralförmig und verflechten sich zwischen den Beats.

Oasis, das im Jahr 2000 erschien, verfeinerte die Palette, die Dettinger auf seinem Vorgänger erkundet hatte. Ein verschwommener Kreuzzug der Ambient-Texturologie, dessen unaufdringliche Muster und subtile, schrittweise Dynamik echte Schönheit und eine Art abstrakter Sinnlichkeit zulassen, die man nicht oft bei Musik erlebt, die vielleicht ähnlich ausgestattet, aber nicht so poetisch ist. Durch scheinbar einfache Gesten – seien es üppig ausladende Wiederholungen, hyperakute Tremolotöne oder ohrenbetäubende Rhythmen – baut sie eine komplexe emotionale Resonanz auf. Es ist keine Überraschung, dass Oasis von Künstlern wie Panda Bear von Animal Collective hoch geschätzt wird, der einmal über Dettinger sagte: “Für uns war er DER Typ”.

Es gibt natürlich auch noch andere Musik, die Dettinger bekannt macht – seine drei ausgezeichneten EPs für Kompakt, Blond (1998), Puma und Totentanz (1999), von denen letztere, wie Michael Mayer einmal kühn behauptete, “den Dubstep erfand”. Es gibt auch eine kleine, aber feine Reihe von Compilation-Beiträgen, von denen viele auf Kompakts Total- und Pop-Ambient-Serien zu finden sind. All diese Musik ist sehr empfehlenswert und zeichnet sich durch eine klare Zielsetzung und eine seltene, menschliche Wärme und Tiefe aus. Aber Intershop und Oasis sind die Veröffentlichungen, die Dettingers einzigartige Vision destillieren und es ihm ermöglichen, seinen Platz als moderner Meister der Ambient- und elektronischen Musik zu behaupten, sollte er dies wünschen.

18 freshly baked instrumental Hip Hop tracks from the best of the global underground.
To celebrate Volume 10 we've cooked up something special...
Limited edition 12" vinyl will also come with issue 1 of a 3 part Cheeba comic series illustrated by

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

Soft Walls is the solo recording project of Dan Reeves, who has spent his entire adult life kicking around in the dust of the UK's underground music scenes. Cutting his teeth in the South West's post-hardcore scene; centred around Exeter's The Cavern club, before moving to the South East and forming his own record label; Faux Discx, and the propulsive post-punk band: Brighton via London's Cold Pumas. Projects have come and gone over the years, but Reeves' Soft Walls has remained, an outlet for whatever musical whim takes his fancy.

'True Love' is Soft Walls' 4th album. Written and recorded at home, during breaks in work. During the aftermath of you-know-what.

For this album Dan leaned heavily in to his guitar playing, searching for those purest moments of true emotion and connection. Aiming to strike an instant blow. "Emotional guitar music. But not Emo." The result of falling in love with an instrument again and playing for the joy of it, much like he did as a teenager. Just older, wiser(?) and certainly more world-weary / teary-eyed.

Thematically, 'True Love' revels in stating its love for everything that is dear to Reeves. Odes to marriage, romance, unconditional love, parenthood and creativity pierce through the record's down-swings that tackle existential crisis and the feeling of falling in to depression. Each song attempts to encapsulate a vivid feeling, be it positive or negative. It's all part of a life worth living.

Although recorded at home, this album marks a leap in to digital mid-fidelity for Soft Walls, embracing a wider, richer sound beyond the tape hiss of earlier releases. That same spirt is still in the mix, but is presented wide-eyed and caffeinated in to clarity. Elevated by the input of a handful of collaborators contributing to the performances and helping to shape it sonically, 'True Love' ends up being the truest version of Soft Walls committed to (digital) tape thus far.

German Funk, Rare Groove and 1970s Disco music (e.g. the highly regarded Munich scene around Italian producer Giorgio Moroder) have been widely recognized and featured on numerous reissues and compilations. However, the Boogie-ish post-disco side of German music history until now has remained undiscovered. One of the reasons might be that a broader national scene in Germany (unlike the UK for example) never existed. Even though tracks by US bands such as Dazz or Midnight Star were popular in discotheks in Germany around that time, bigger labels showed little interest in promoting German groups playing this new style of Disco Funk, now primarily known as "Boogie", that brought in electronical instruments and often lacked the iconic "four-on-the-floor" beat. Additionally, the number of bands that continued to play funky and soulful music in the 1980s diminished as other styles like Synth Pop, Punk, New Wave and NDW (New German Wave) ascended in popularity. Still, though German Boogie may have never existed as a national movement, great things were happening rather locally and each group featured on our compilation brings with them a particularly unique style and story.

Now, finally, "Boogie on the Mainline" sheds some light on 11 little-known German Disco gems that were released on small or even private labels. The album contains tunes by Imagination, Squish, Upstairs, Bernie L., The Poptown Syndicate, Peter Patzer, Ca$h, Trust, Publicity as well as classic tracks by Ströer and John Davis. It was compiled by John Raincoatman aka DJ Scientist

When Black Pumas made their self-titled debut in 2019, the Austin-bred duo set off a reaction almost as combustible and rapturous as their music itself. Along with earning a career total of seven Grammy Award nominations (including Album Of The Year) and winning praise from leading outlets like Pitchfork and Rolling Stone, singer/songwriter Eric Burton and guitarist/producer Adrian Quesada achieved massive success as a live act, touring large theatres all over Europe and North and South America and delivering a transcendent show Burton aptly refers to as “electric church.” As they set to work on their highly awaited sophomore album, the band broadened their palette to include a dazzling expanse of musical forms: heavenly hybrids of soul and symphonic pop, mind-bending excursions into jazz-funk and psychedelia, starry-eyed love songs that feel dropped down from the cosmos. Wilder and weirder and more extravagantly composed than its predecessor, Chronicles of a Diamond arrives as the fullest expression yet of Black Pumas’ frenetic creativity and limitless vision.

Ruthie Foster’s ninth studio album represents a new high water mark for the veteran blues artist—a collection of songs possessing pure power, like a tidal wave of musical generosity.

Healing Time finds Foster pushing her boundaries as a singer and songwriter more than ever before, creating a truly live-sounding atmosphere with the help of her band, who sound refreshingly loose and lived-in throughout these 12 songs.

Joining Foster and her band: members of Austin psych-soul outfit Black Pumas. “They gave these songs a breath of fresh air,” she says about their contributions—and veteran producer Mark Howard (Willie Nelson, Lucinda Williams) also came in to bring new ideas to Foster’s table.

“I’m still learning how to experience joy, how to be free, how to be comfortable in my own
skin,” says Jaime Wyatt. “A lot of us grow up feeling like we have to hide who we are just
to be accepted, but that comes from a place of fear and judgment. I wrote these songs as
a way of letting go of all that, as permission to feel good.” Feel Good, Wyatt’s extraordinary
new album, is more than just a permission slip, though: it’s an invitation. Recorded with
Black Pumas’ Adrian Quesada, the record is bold and ecstatic, built on tight, intoxicating
grooves that belie the songs’ substantial emotional stakes. Wyatt’s writing is raw and
intuitive here, tapping into the deep recesses of her subconscious as she reckons with
grief and growth, and her delivery is visceral to match, cutting straight to the bone with
equal parts sensitivity and swagger. Taken as a whole, the collection stands as a radical
act of creative liberation from an artist already known for pushing limits, a genre-defying
work of healing and self-love that tips its cap to everything from Al Green and Otis
Redding to Waylon Jennings and Bobbie Gentry in its relentless pursuit of peace and
pleasure.

Am 27. Oktober erscheint ihr neues Album "Chronicles of a Diamond" bei ATO Records. Produziert von Quesada und hauptsächlich abgemischt vom sechsfachen Grammy-Preisträger Shawn Everett (Alabama Shakes, The War on Drugs), übernimmt Burton auf den zehn Songs die Rolle des Co-Produzenten und lässt seine freigeistige Musikalität in jeden Track einfließen.

“It felt like a metamorphosis in a way that was both beautiful and difficult, but in the end feels more true to who we are as collaborators“, erzählt der Sänger. Die Songs entstanden zwar im Studio, fangen aber definitiv auch die verrückte Energie ein, die während den Live-Shows der beiden entsteht. Das endet in einem besonderem Hybrid aus Soul und symphonischem Pop, der verrückter und extravaganter als sein Vorgänger komponiert wurde. Inklusive unerwartete Ausflüge in Jazz-Funk und psychedelische Gefilde samt hypnotischen Rhythmen, wilden Gitarrenriffs und stimmungsvollen Mellotron-Melodien, die eine tranceartige Euphorie ausstrahlen. „With this album I felt very free in my vocal performance, which has a lot to do with Adrian hearing something in my voice and helping me to explore that”, ergänzt Burton.

Als Black Pumas 2019 ihr selbstbetiteltes Debüt veröffentlichten, löste das Duo aus Austin eine Reaktion aus, die fast so außergewöhnlich und mitreißend war wie ihre Musik selbst. Gefeiert von den Medien, hagelte es insgesamt 6 Grammy Award-Nominierungen (darunter Best New Artist und Album of the Year). Neben Live-Auftritten bei den genannten Grammy Awards, spielten die Black Pumas außerdem bei der Übertragung des NFL Drafts sowie zur Amtseinführung von Joe Biden. Sie tourten durch ganz Europa sowie Nord- und Südamerika und waren bei bekannten Late-Night-Shows wie Jimmy Fallen, Jimmy Kimmel, Ellen DeGeneres oder Stephen Colbert zu sehen. Ihr Album verkaufte sich über eine Millionen Mal, alleine ihre Single "Colors" steht inzwischen bei über 450 Millionen Streams. Nun ist es an der Zeit, das zweite Kapitel der Band aufzuschlagen.

Belgian producer and curator soFa launches from Strangelove once again, this time with his celebrated compilation series. A second trip round the stars "elsewhere junior Vol 2" features a bunch of unknown and familiar offworld entertainers. Kosmische music lands amongst leftfield club krypton as our crew collaborate with young space cadets.

Invisible Inc is back with another remarkable release, this time diving even further into ambient, spiritual and folk-infused psychedelia.

“Mondo Organico”, as the name suggests, is a concept compilation that captures the “organic” side of Invisible Inc. The use of non-electronic instrumentation is a familiar theme explored by the label previously with the likes of Komodo Kolektif, Immaculate Rivombo and Peter Power...but this time the instruments and voices, tranquil and meditatively hypnotic in places, display an even deeper spirituality.

Featuring the talents of Andi Otto and his fello (electronic cello), Anna vs June's ethereal vocals, Tyler Ov Gaia's zoned-out mantra rhythms, Pieter Kock's 8-minute bass and guitar psych odyssey, as well as label favourites Sordid Sound System and Puma & The Dolphin, the record is enthralling and mesmerizing from start to finish - and yet another notch in Invisible Inc's rather idiosyncratic belt.

This record was pressed on eco vinyl. Everything from the sleeve to the inks are recycled too, in an attempt to address some the environmental issues we face today, albeit fractionally.

“Mondo Organico” is the future.

Borgo Dora is a multiethnic neighborhood located in the centre of Torino. A perfect example of inclusion between different people from (mainly) the Mediterranean area and home to Porta Palazzo, the largest open-air market in Europe.

In 1991, a newly born studio located in the middle of the district guided by Biagio Puma decided to give birth to a dance lp called Teknoafro with the support of local Techno dj Bart Spinelli. The title almost speaks for itself, mixing the Italian "Afro" dj culture and the new Akai samplers with 909-driven Techno rhythms. The result was impressive, giving birth to a quite unique recording that reveals many aspects of the '90s Italian dance creativity and tapestry.
Dualismo Sound comes with a fully remastered selection of 6 tracks taken from the original lp.

Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue.

With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ.

Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection.

With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.

Having spent the past few years supplying low notes as bass player for a who’s who of UK Soul and Jazz talent (including Tom Misch, LoyleCarner, Berwyn, Jordan Rakei, Poppy Ajudha, Jamie Isaac, Puma Blue, Jorja Smith, Alfa Mist & Charlotte Dos Santos) Rudi Creswick steps into the spotlight with his first full length solo offering ‘Different Forms’ on Alfa Mist’s Sekito imprint.

Hailing from Newcastle-Upon-Tyne, Rudi was immersed in club culture from a young age, the low end sonics of which guided his playing, and led him to discovering his own style In the years that followed, Rudi continued to hone his craft, melding the sub rattling sounds of Hip-Hop producers such as J Dilla, MF Doom and Knxwldge with the technical sensibilities of influential Jazz players such as Pino Palladino, Derrick Hodge and Thundercat.

With this record serving as a chance for Rudi to stretch his creative legs, the aim was to showcase the many musical sides of his creative spirit. The first single lifted from the project ‘Sometimes’ enlists the vocal talents of the incredible Emmavie - who dives into self-reflective and cutting, honest lyrics. She explains: “No one ever leads with “often temperamental, quick to anger and generally hot and cold” when describing themselves. Something about Rudi’s laidback production and bouncy singing bass line pulled this reflective and apologetic yet playful subject out of me. “

On the LP, Rudi says: ‘This whole project is thanks to Alfa , Barney Artist and the team at Sekito who’ve helped me realise my dream. They had faith in me for which I’ll always be grateful. The project’s kind of all over the place because there’s so many corners to anyone’s being, inspirations and their musicality, so I wanted Different Forms to reflect that’



Throughout the record, Rudi’s musical prowess and vast influences are laid bare for all to see. From the gliding melodies and twinkling keys and hazy fanfares of second single ‘Peace Of Mind’ (Feat. Manny & The Coloured Sound) through to the sparse and haunting tones of ‘Charlotte’ the LP traverses high peaks and deep valleys, channelling a sense of beauty of textured mystique throughout. Sporting an impressive roster of collaborators including Alfa Mist himself, Trumpeter Sheila Maurice Grey (Kokoroko), Chelsea Carmichael on Tenor Sax, Barrel Jones (Drummer for Nubya Garcia) and Vels Trio’s Jack Stephenson-Oliver (who played synth for the track ‘With Want You’). The lush instrumentation provides an incredible backdrop for esteemed performers such as Barney Artist to drop bars over the crisp drums and laid back strut of ‘Holding The Fence’, meanwhile Berwyn supplies sombre lyrics of the vast expanses of ‘96BPM’. An emotive and engaging listen from start to finish, ‘Different Forms’ is a truly stunning debut.

For Fans Of... Michael Kiwanuka, The Black Keys, Curtis Harding, Black Pumas. Latest 7” from Philly band named Artist to Watch by NPR station WXPN. Features signature Synth & Soul production from Eraserhood Sound. Follows the 2022 7” Money In Your Mouth / Miss Me. Philadelphia band Stereo League has always been about discovering new genres and working with collaborators who can bring unique sensibilities to their music. On their latest 7” Operator, Please / Seasons of Trouble, the band, comprised of childhood friends Alex Savoth and Dan King, continued their fruitful partnership with the synth & soul record label and production crew Eraserhood Sound. Following the success of the group’s 2021 EP Endless Mirage, the band, again under the guidance of EHS, have created two more timeless, soulful songs, each with their own unique personality. The A side “Operator, Please” is a swampy, seductive throwback to 70s soul and funk, evoking the indelible Southern sound from classic labels like Hi and Cat. The flip side “Seasons of Trouble” puts a bowtie on the funk, taking its cues from the classic Philly soul of The Delfonics, The O’Jays, and more. Stereo League, who have been named Artist to Watch by NPR station WXPN, believe this release to be the clearest and best representation of their vision to date, delivering the classic, yet thrilling sound they have been searching for. Tracks: 1. Operator, Please 2. Seasons of Trouble (Explicit)

London-based British singer songwriter Jonathan
Jeremiah confirms his new album, his second for
PIAS Recordings, ‘Horsepower For The Streets’.
Contains the singles ‘Horsepower For The Streets’
and ‘Restless Heart’.
Much of ‘Horsepower For The Streets’ was written
in Saint-Pierre-De-Côle, the countryside beyond
Bordeaux, during breaks in Jeremiah’s first tour of
France, before the album was recorded in a
renovated monumental church in Amsterdam, with
Amsterdam Sinfonietta, a 20-piece string
orchestra.
For fans of Michael Kiwanuka, Black Pumas,
Villagers, Charles Bradley.
Radio - 6 Music Guy Garvey, Cerys Mathews, Huw
Stephens.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

Adrian Quesada announces the release of ‘Boleros Psicodélicos’,
a sprawling and singular tribute to the golden era of balada music.
The brand-new album from the GRAMMY-nominated guitarist,
producer and Black Pumas co-founder serves as a celebration of
the super funky, slightly delirious and deeply soulful sounds that
transcended the cultural boundaries of Latin America throughout
the late 1960s and early 1970s.

Featuring vocals from Puerto Rican icon, GRAMMY-winner and
former Calle 13 member iLe, Colombian-American visionary
Gabriel Garzón-Montano, Mexican R&B star Girl Ultra, as well as
Angelica Garcia, Gaby Moreno, contributions from living legends
such as Marc Ribot and Beastie Boys musician Money Mark, and
many more, ‘Boleros Psicodélicos’ consists primarily of original
Adrian Quesada compositions, as well as covers of La Lupe’s
‘Puedes Decir De Mí’, Jeanette’s ‘El Muchacho De Los Ojos
Tristes’ and other balada classics.

All twelve tracks were produced, engineered, mixed and largely
performed by Adrian Quesada, honouring and extending the
influence of a personal obsession that he has cultivated over the
past 20 years.

Similar to his acclaimed 2018 album ‘Look At My Soul’, which
traced the deep roots and relationship between Latin and Texas
music, Adrian Quesada sees every song on ‘Boleros Psicodelicos’
as both a history lesson and a step towards a newly imagined,
more united future: “I always wanted to pay tribute to that sound
that I was already hearing in my head without realizing that people
had already done it. Balada changed the face of Latin music
forever. If something like that happened today, it would be normal
because everyone’s connected on Instagram. Think how powerful
this sound had to be for everyone to be connected through the
songs. As someone who grew up speaking two languages and
living on both sides of the border, I love how much music can
transcend barriers and boundaries. It really is a universal
language, especially back then.”

Eli 'Paperboy' Reed pays homage to country legend Merle Haggard by
putting a soulful spin on some classic tunes

Recorded in Brooklyn with longtime collaborator Vince Chiarito (Black Pumas, Charles Bradley), Reed taps into all the heartache of Haggard's iconic catalog and channels it into explosive, high-octane performances that blur the lines of genre, geography, and race to reveal the common, distinctly American threads tying hem all together.

HIGHLIGHTS: Let yourself go with the overwhelming musical output of Argentina's very own Melopea Discos, in a selection of songs that explore fusion with an air of mystery and a side of exquisite sensitivity across 11 carefully curated leftfield synth pop, experimental folk and ambient tracks. "Viento Sur" has been compiled by Argentine DJs and collectors Bárbara Salazar and Alejandro Cohen (dublab) based in Buenos Aires and Los Angeles respectively. Most of the songs are reissued here for the first time and many of them were previously unavailable on vinyl. Includes a 4-page insert with liner notes and photos. Remastered sound. Further Info: Viento Sur. Experimental Music & Fusion Music from Argentina. A Retrospective from Melopea Discos. Following the success of our 2020 release "América Invertida" (VAMPI 205), a fascinating survey of Uruguay's lesser-covered '80s endeavours in new wave pop, jazz-fusion, ambient folk and electronics, it's now time to cross to the other side of Rio de la Plata and let yourself go with the overwhelming musical output of Argentina's very own Melopea Discos. Born partly out of necessity and partly by a twist of fate, Melopea is a record label from Argentina created at the end of the 80s as a vehicle for the creative curiosity of its founder, Litto Nebbia, to document music not supported by the music industry. The songs that form "Viento Sur" do not provide a comprehensive vision of the different styles of the label but rather an approach to its more experimental side. This compilation puts together a selection of songs that explore fusion with an air of mystery and a side of exquisite sensitivity across 11 carefully curated tracks. From the southernmost latitudes of the American continent, "Viento Sur" brings soft and warm atmospheres that intermingle with more earthly pulses; sounds that reflect the beauty and richness of Argentina, from the jungle to the pampas, the subtlety of the forest, and the effervescence of the Río de la Plata and its neighboring candombe. "Viento Sur" has been compiled by Argentine DJs and collectors Bárbara Salazar and Alejandro Cohen (dublab) based in Buenos Aires and Los Angeles respectively. This release is presented with obi strip and a 4-page insert including liner notes and photos. Most of the tracks are reissued here for the first time and many of them were previously unavailable on vinyl. Remastered sound.

Recorded in Brooklyn, NY and in Accra, Ghana.

Osei Korankye is a master musician and singer from Accra, Ghana. Known as one of the very last remaining seperewa musicians in Ghana.

These tracks are a throw back to the classic styles of Afro-Funk in 1970s Ghana.

Recorded to tape and produced by Super Yamba bandleader and drummer Daniel Yount and engineer/bassist Vince Chiarito (Ikebe Shakedown/Charles Bradley/Black Pumas).

Upon a trip to the United States in 2017 Korankye linked up with Yount for a few gigs in New York City. Yount learned Korankye’s music and played drums on the gigs. “After that I knew I wanted to collaborate with Osei on some of the songs Super Yamba had written in the style of Ghanaian funk.” The collaboration came together effortlessly and the result is two beautifully psychedelic funk tunes made for dancing time!

'I was born in the North Carolina mud,' says Jamil Rashad, better known as Boulevards, one of the most idiosyncratic artists making music in the Tarheel State - His fourth album, Electric Cowboy: Born in Carolina Mud, is caked in the soil where he grew up, mired in the muck of this place'not stuck but freed.

Grounded in personal experience and haunted by personal demons, Electric Cowboy is an album that reaches out, that embraces the world, that mixes the confessional and the communal. But the dominant sound'the dominant mindset'is funk: gritty, warm, weird, charismatic. Rashad once again composed and recorded with Blake Rhein, guitarist for Durand Jones & the Indications, after they had worked so well together on 2020"s Brother! EP. They corralled an all-star team that included Adrian Quesada from the Grammy- nominated neo- soul act Black Pumas and Colin Croom from the Chicago indie-rock outft Twin Peaks.

Recorded direct to acetate - all live, no overdubs - ‘Capitol Cuts - Live from Studio A’ captures a powerful moment in time.
After months of cancelled shows Black Pumas went to Los Angeles and laid down eight explosive tracks at the famed Capitol Studios.
The recording brims with pent up energy, nearly bursting through the grooves on the expansive and mind-blowing seven minute rendition of ‘Colors’. A few weeks later the song would receive a Grammy
nomination for Record Of The Year. Red vinyl LP in throwback jacket with centre hole.

What future? What futures? When fear substitutes truth / Misinformation obscures reality / And speculation prevails on experience / Brutality seems necessary / And empathy appears naïve.

One. Simple. Direct. Question. Quale Futuro? What Future? Obliterated by a tumultuous year with lingering anxiety, uncertainty and a city ready to break any strand of hope, Qlowski, resorted to what they know best, turning frustration into dreams, stockpiling possibilities, fabricating desire and simply, living. This is Quale Futuro? their debut LP for Maple Death Records



London based twee-punks Qlowski entered the studio in late January 2020, basically before everything. Crammed in a small studio room in Tottenham Hale with producer Lindsay A. Corstorphine (Sauna Youth, Cold Pumas, Middex) they created a striking, full blown manifesto, where their early post-punk nuances are heightened by an extremely poetic and compelling vision that encapsulates words, imagery and noise. Propulsive rhythms, a modern spin on kiwi-pop and a weird combination of dark punk, noise rock and flower pop are still the foundation of their sound but it’s the combination of bandleaders Mickey and Cecilia’s voices that creates an eerie effortless sense of familiarity. It’s no wonder they’ve known each other since they were young kids. ‘A Woman’ shines bright with Cecilia’s intimate and prismatic approach that unites Poly Styrene’s fierce delivery with the ethereal vocal melodramas produced by Joe Meek in the 60s. Mikey’s howl is confrontational and direct, moving from the motto-induced style of Italian new wave art-punks CCCP on ‘Lentil Soup’ to a deep commanding calm steadiness on ‘Lotta Continua’ and frenetic frenzy on ‘To Be True’. The stabilizing presence of Danny and Christian’s rhythm section has freed the band to develop and expand furious kraut-punk assaults like on deep cut ‘The Wanderer’. Les Miserable from London punks Italia 90 lends his snarl on the sci-fi 50s tinged romantic closer ‘In A Cab To Work’.

What future? What futures? When fear substitutes truth / Misinformation obscures reality / And speculation prevails on experience / Brutality seems necessary / And empathy appears naïve.

One. Simple. Direct. Question. Quale Futuro? What Future? Obliterated by a tumultuous year with lingering anxiety, uncertainty and a city ready to break any strand of hope, Qlowski, resorted to what they know best, turning frustration into dreams, stockpiling possibilities, fabricating desire and simply, living. This is Quale Futuro? their debut LP for Maple Death Records



London based twee-punks Qlowski entered the studio in late January 2020, basically before everything. Crammed in a small studio room in Tottenham Hale with producer Lindsay A. Corstorphine (Sauna Youth, Cold Pumas, Middex) they created a striking, full blown manifesto, where their early post-punk nuances are heightened by an extremely poetic and compelling vision that encapsulates words, imagery and noise. Propulsive rhythms, a modern spin on kiwi-pop and a weird combination of dark punk, noise rock and flower pop are still the foundation of their sound but it’s the combination of bandleaders Mickey and Cecilia’s voices that creates an eerie effortless sense of familiarity. It’s no wonder they’ve known each other since they were young kids. ‘A Woman’ shines bright with Cecilia’s intimate and prismatic approach that unites Poly Styrene’s fierce delivery with the ethereal vocal melodramas produced by Joe Meek in the 60s. Mikey’s howl is confrontational and direct, moving from the motto-induced style of Italian new wave art-punks CCCP on ‘Lentil Soup’ to a deep commanding calm steadiness on ‘Lotta Continua’ and frenetic frenzy on ‘To Be True’. The stabilizing presence of Danny and Christian’s rhythm section has freed the band to develop and expand furious kraut-punk assaults like on deep cut ‘The Wanderer’. Les Miserable from London punks Italia 90 lends his snarl on the sci-fi 50s tinged romantic closer ‘In A Cab To Work’.

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei
Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, itcomes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.
Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequentLPs, Wallflower and Origin, came out on Ninja Tune, the former#2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:
As Jordan says,there’s so much more to the song selection on Late Night Tales’latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.
Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in mycareer,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.
Snowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive,original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a familyaffair. Not theblood is thicker than water kind, but certainly musical kindred spirits.

Vangarde's 11 songs represent the culmination of not only what this year has wrought, but also the talents of Lif and Bangas, an emcee-producer duo built for this. And you can hear that for yourself as soon as the second track, "Shelter in Place," blasts its way into your speakers. From the driving production to Lif and Blacastan's bars, the single embodies the raw, visceral feel of the entire LP. It carries through to the previously leaked "Basquiat," the stirring and gripping posse cut "8 Minutes 46 Seconds," and the highly personal "Now is Only Now," in which Lif explains how he wrote most of his lyrics secluded from his wife and young son due to the pandemic.

What makes Vangarde so impactful, however, is that it doesn't beat you over the head with the same sound or approach. Lif and his guests may tackle subjects related to oppression and corruption throughout the record, but it's done through nuance. The same goes for Bangas' stellar production, which maintains the momentum of his vocal counterparts. It's no surprise then that the two speak so highly of each other, with Bangas referring to Lif as a "storyteller and a reporter," and Lif noting that he was saving the name "Vangarde" for a project with an "elite producer."

Washington DC’s The Archives and Montserrat House, the label owned and operated by Thievery Corporation’s Eric Hilton, present Carry Me Home. A Reggae Tribute To Gil Scott-Heron & Brian Jackson.
Carry Me Home is a highly ambitious collaboration featuring an array of guests (including Puma Ptah, Raheem DeVaughn, Addis Pablo and Kenyatta Hill) celebrating the works of the late, great poet and musician Gil Scott-Heron and close collaborator Brian Jackson.
The LP is standard weight black vinyl in a gatefold sleeve and includes download card.