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Freestyle Records are proud to present the first ever reissue of this rare Black Ark-era Lee "Scratch" Perry production on LP & CD w/ bonus tracks. Both formats feature liner notes from author of the acclaimed People Funny Boy: The Genius of Lee 'Scratch' Perry and Solid Foundation: An Oral History of Reggae, David Katz.

The late Bunny Rugs was best known as the frontman for legendary reggae band Third World, but prior to that he completed an apprenticeship at Lee Perry's Black Ark resulting in this solo LP, originally released in 1975 and credited to Bunny Scott.

The album captures the laid-back sessions of the early Black Ark, with a few surprising innovations lurking amongst the soul covers and love ballads. Highlights include the sought after Blaxploitation-influenced funk track 'Kinky Fly' featuring members of The Chi-Lites' backing band, passing through Perry's infamous studio whilst in Jamaica for a series of shows - their horn section and Chinna Smith's wah-wah guitar give the track its outstanding difference as synth overdubs add to the moody feeling, underpinned by the ghostly click tracks of the Conn Rhythm Unit (constituting one of Perry's earliest experiments with drum machines).

Breakup track 'Second Avenue' shows how suited Rugs' powerful, deep tenor was suited to a soul framework, the Chi-Lites' horns again making a striking difference. The Bee Gees' evergreen 'To Love Somebody' takes James Carr's soulful rendition as its reference and 'Big May' re-works the 'Return Of Django'/'Sick And Tired' rhythm, with a new drum part. while the broken-hearted 'What's The Use' was cut at the request of Sonia Pottinger, who ultimately failed to release it.

Somehow the sublime rendition of William DeVaughans' 'Be Thankful', recorded during the same session, was left off the LP - but appears here as a bonus track on the CD along with I Never Had It So Good & Hip Harry + it's version track.

Looking back on the sessions documented on this LP, Rugs said that Perry's creativity taught him that music could be limitless. As he explained, 'It was so simple that it became complex. The approach he has to music and to recording, I think the music nowadays lack that kind of intuition. He's somebody that would use pliers and a screwdriver to create percussion; he wouldn't hesitate to experiment. He was a little...not crazy, but somebody with that kind of thinking must be somewhere else, in another zone sometimes.'

Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led a storied career as a composer, arranger, technician and producer, consistently aligned with some
of the most exciting bands and projects within the realms of pop and experimental music. A figure as masterful in the realm of expansive ambient recordings as advertising jingles, it’s only in recent
years that Michal’s solo productions have gained acclaim and a cult following that continues to grow ever wider.
Turtle made a long-awaited return earlier in 2020 with the extended ‘On a Canvas Lived a Baby’, a one-sided twelve of new material released on Planisphere Editorial. Now, the Basel based label
invites a diverse and international cross-section of electronic musicians to reinterpret the artist’s back-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,
exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixes collection was originally recorded between 1980 and 1985, in between Turtle’s regular tours with established bands. Opening the collection, Laurel Halo adopts her LH alias for a textural and tripping revisit to ‘Phantoms of Dreamland’, transporting the haunting original to a hyper-detailed alternate dimension. Zoning back in, Neue Grafik finds typically eclectic form with ‘Men in Green’, turning the dials and blending ideas as if tuning between the emerging musical scenes that defined Turtle’s early-eighties life in Camden, London. In stark contrast, avant-garde polymath Felicia
Atkinson designs a ‘Fennel and Moon’ version, weaving between earthy field recordings and an aching piano line, conjuring an almost ritualistic atmosphere, far from the city. Radical musical turns continue to define the collection as son of Detroit, Jimmy Edgar takes
‘Rainwater Fijit’ down a dark, damp tunnel, expanding on the pitter patter of Turtle’s more outlandish studio experiments, blending vocal experiments with fresh funk. Colombian experimentalist Lucrecia Dalt pulls further bizarre shapes from a patchwork of samples, a heaving,
gasping industrial shuffle, before French producer D.K. returns a stronger rhythm, both building on Turtle’s lovingly naive tributes to the legacy of sample culture and his trusty ARP2600.

Ostgut Ton mainstay and Panorama Bar resident Nick Höppner proceeds to sensitively rewire ‘Maid Of The Mist’ into a blossoming, introspective celebration of melody and ambience, an
almost weightless experience that lends itself well as a breather before Luca Duran’s analogue, acid-tinged take on Spookie Boogie takes Turtle’s esoteric touches back into the direction of the
funk and italo records at the heart of his initial inspiration.
The Remixes final chapter continues to expand in distinct and wide-reaching sonic directions. London’s Object Blue seems to slow time itself across her sublime interpretation of ‘Ball Of Fire’.
Initially Turtle’s tribute to Howard Hawks 1941 film classic and the legacy of old Hollywood, worlds further collide into rolling, weightless bliss.

Fellow Swiss citizen Mehmet Aslan stirs an enchanting, percussive mystery that unfolds with great
pleasure on El Teb, while Parco Palaz conjures not one but two radically different remixes of ‘Are
You Psychic?’, demonstrating both their imaginative nous, as well as the depth of Turtle’s legacy.
Finally, an irresistible vocal contribution from Oso Leone adds even further colour and joy to ‘Maid
of The Mist’, sending off this ambitious collection on a transformative, dream-pop high.
With further details set to be revealed, there is an ongoing development focused around the
accompanying art and visuals. The Peruvian born and now Amsterdam based graphic designer
Jonathan Castro leads the art direction, along with visual artist Chris Harnan. Both artists look to
explore the intersection between sound, imagery and its reorientation, exhibited through the
musical contributors and visual translation.

“I am happy and honoured to have been the spark for this remarkable compilation.
The magnificent work done by this collection of very special people speaks for itself, so listen and
be transported. It has been half a lifetime since my original tracks were written, and I am gratified
to know that they are somehow still relevant enough to be reworked and reinvented.”

Ralph Heidel is one of the young musicians that represent the spirit of Berlin’s new musical ecleticism better than others. He is part of the avantgarde circles that mix modern jazz and contemporary classical music with elements of new electronica and experimental ambient music. This is the vibe of Germany's next generation.

Heidel creates a sonic universe that is unique. He takes the listener into a deep, atmospheric travel that stimulates emotions and feelings on a different level. Heidel brings together two worlds: what he learned at Musikhochschule München, Germany’s leading academy for classical music where he studied saxophon and composition and the moods happening in Germany's new electronic circles.

On „Relief“ Heidel created six songs. Except one, all of them are instrumental music. Partly composed and often improvised these sounds take the listener into Heidel's specific sonic universe. Raw beat structures, emotive horn lines, strong harmonical tensions and dramatic build ups. Heidel’s signature sound.
In fact Heidel is a multiple influenced artist with a strong personality that absorbs whats around him, connects it with his own wide artistic knowledge and fullfills it into magical musical moments.

Relief is the next step in what could become a longtime artistic career.
After a (very composed) debut album for string quartet and rhythm section for Kryptox (Moments of Resonance 2019), it was important for Heidel, to process current feelings of daily life.
Not just his cultural learnings, but also emotions connected to the hard COVID times and a lot of personal experiences.

Relief are six abstract, distorted patterns. Long deep transitions that lead into euphoric parts of sonic greatness. Heidel's sense for sound design and the soft tone of his saxophone phrases, add a personal note that is somehow alone in the current music scenario. Sampling his saxophone (reeds, keys etc.) to create very organic beats is one of the many techniques to create that special „Heidel“ sound. Also his calm and wide harmonies over disquiet, rough drums are part of his unique ambivalent, disrupted moods.

Most of this EP has been played by Heidel alone. For a few parts he was joined by musicians from the local scene. In fact besides his albums on Kryptox Ralph Heidel is very connected in Berlin’s current cultural playground: He creates music for underground performance art happenings in Neukölln as well as for new German theater (Volksbühne, Berliner Ensemble). Also German rapper Tarek from K.I.Z heard about Heidels string debut album, so they collaborated for an album, where Heidel reworked his record for stringquartet, piano, drums and bass.

Repress of the self-titled debut album. Their self-titled debut album is an instrumental bluesy heavy rock with no DOOM taste. A lot of improvised double guitar solo and a very special groovy rhythm section.
The release got a real unexpected awesome response all over the world. All the tracks are 100% original, except the cover of the blues classic "Going Down".

BIOGRAPHY:

"Sonic Flower" were formed as a side project of "Church of Misery" in 2001. Tatsu Mikami (bass) and at that time Church's guitarist Takenori Hoshi (guitar on Church of Misery's 2nd album "The Second Coming"), teamed up to play more bluesy & non Doomy taste instrumental Heavy Rock. They were influenced by famous 70's heavy rock bands like CACTUS, GRAND FUNK RAILROAD, GROUNDHOGS,SAVOY BROWN etc.

Soon female guitarist "Arisa" and drummer Keisuke Fukawa joined the band. In 2003, they released the self titled debut album "SONIC FLOWER" on Japanese Heavy rock label "Leafhound Records". All instrumental bluesy heavy rock and improvised doubleguitar, they got a tons of good response from all over the world. They also played some shows as support for some foreign band's Japan appearance like Electric Wizard, Bluebird (Amen's side project), Acid King etc.

In 2005 they went to studio for new recordings. At that time the band has some problems and after the recording quit. So this recordings were long years sleeping in the vault. Totally unreleased studio materials. In 2018 Tatsu decided to re-form the band. He has already tons of new songs. This time he teamed up with old Church singer and his old friend. A new album is in progress and will be released in 2021.

We are proud to announce our official UK, Record Store Day 2020
release by Magic In Threes on KingUnderground. Edition of 500.
Releases Sat, Aug 29th in official RSD record stores.

The Nashville crew are back with even more top-shelf vintage-tinged funk. The limited 500 pressing dinked 45 is their 6th seven-inch record, this time showcasing a superb horn section with sleazy bass permeating the groove.

‘Stay In Your Lane’ bursts through with a dramatic cadence of slick guitar, aggressive bass, subtle wah-wah, and a soulful bridge section - smooth and cinematic library-style funk at its Finest.

‘Measly Peace’ shows off a hypnotic groove with tight drums, lush chords, and a driving rhythm reminiscent of a 70’s cop show theme, but with some new age flair. Their previous releases have impressed patrons of all dance floors and vinyl bars since 2010, and anyone familiar with those will be happy to add this one to their crates. Another killer 45 from the stellar as ever Magic In Threes.

*repress*

Phonica White returns with two extended cuts from their mainstay artist Iori. Monsoon & Rainfall mark Iori's 5th contribution to the label and it may be his best yet.

Monsoon on the A-side is a deeply hypnotizing piece of dub techno that's destined to cause dance floor destruction. Steady kicks & toms open the track up before a relentless downpour of intricate percussion and low-end stabs lock you in for the track's 10 minute duration...definitely one for the long nights in dark rooms.

The B-side is a calming contrast to the A side storm. Deep and meditative, Rainfall comprises sparse modulating synth keys coupled with a bouncy rhythm section and airy spaced-out sound effects that create a dreamy atmosphere.

This is Iori on top form.

Following the 2020 release of RoundAgain, Nonesuch reissues on vinyl Joshua Redman's first album with his own band — pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade — originally released in 1994. MoodSwing was Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz — a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy ‘Chill’ to the urgent energy of ‘Rejoice’, Redman offers up a communicative and inspired record ofemotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in ‘The Oneness of Two (In Three)’ and ‘Past in the Present’. The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums.

As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success, selling over 300,000 units worldwide. Entertainment Weekly wrote, ‘saxist Redman finds ingenious ways of creating a modeof acoustic jazz that is both entertaining and enlightening.’ This record continues to provide a cornerstone for Redman’s currentcareer; many of these compositions are still featured in the saxophonist’s live sets today.

Redman’s previously announced European summer 2020 tour dates with Mehldau, McBride and Blade have been rescheduled for 2021, including London’s Barbican, now on July 11.

Terry Gross is an engrossing trio composed of guitarist Phil Manley (Trans Am), bassist Donny Newenhouse, and drummer Phil Becker. The trio are also connected as owners and engineers at Bay Area recording spot El Studio, where they began improvising together as a way to test the boundaries and gear of the studio. Their loose, organic chemistry burgeoned into a deep camaraderie and a sound both expansive and exacting. The three experienced musicians crafted their first fulllength album through the pure joy of playing together with no expectations. With the tapes rolling on their rehearsals, the band captures the exuberance of live performance and elevates those recordings through a deft use of the studio as their collective instrument. On their debut LP Soft Opening, Terry Gross channels their cosmic powers and considerable chops into a gleefully mesmerizing odyssey fit for an arena. Soft Opening took shape over the course of 2016-2019, with Terry Gross writing and refining their songs. "Space Voyage Mission" and "Worm Gear" parallel one another as sinuous jams that pulse with adamantine fervor. Each mountainous epic churns spellbinding repetition and simplicity into dizzying gallops that take hairpin turns into sinewy riffing and elysian vocal melodies. Phil Manley's guitar takes on a constellation of tones across "Space Voyage Mission" with drifting delays soaring over the Newenhouse and Becker's driving rhythm section which all succumb to frothing overdrives that spin the song into entirely new pastures. The hypnotic throb of "Worm Gear" grows all the more enchanting as Newenhouse and Becker add subtle shifts to the single-chord barrage. "Specificity (Or What Have You)" contrasts these two in its more traditionally pop-oriented structure while retaining its predecessors wide-eyed energy and delves further into the album's lightheartedyet-earnest take on sci-fi tropes from space and time travel to the singularity. As Terry Gross, Phil Manley, Donny Newenhouse, and Phil Becker are sonic scientists traversing the borderlands of rock. Soft Opening captures the simple joy of a no-holds-barred trio in stunning detail, transporting the listener into the splendor and freedom of rock.

It seems that every major jazz artist has a one-off sort of record in their discography, be it with strings, voices, spoken word or - as in this case - a foray into the funkier side of jazz. Charlie Rouse (going here as Charles Rouse) gets his chance on Two Is One, a funky soul jazz excursion on Strata-East, the artist-run label where creativity and pushing boundaries was at the forefront. Playing mostly with a group of session musicians, Rouse put together an album that may stray a bit from his hard bop roots, but is nonetheless an enjoyable and at times inventive record. The style of music played here - sophisticated soul jazz with some post bop and spiritual jazz thrown in for good measure - is very much a product of it's time. 1974 saw a whole slew of artists stretching the boundaries of what jazz music could be, combining elements from the past two decades into electric jazz adventures. The piano-less group that Rouse put together is a funky one, with lots of rhythmic playing behind either the searching solos of Rouse on the tenor or some inventive electric guitar work from either George Davis or Paul Metzke who appear together on all but a couple of tracks. Cal Scott gets plenty of time to shine throughout on what sounds like an electrified cello, an unusual instrument for modern jazz to be sure, but one that manages to fit in just fine here.

The first side of the album is all slow burning soul jazz, highlighted by the opening track "Bitchin'" where Rouse shows off that he is more than capable of setting down soulful lines over a funky backbeat. The second side is where the group gets a whole lot more inventive, particularly on the title track where they mix some post bop madness with the soul jazz sound. "Two Is One" features different tempos throughout: in the "first section" the bass plays in 9/8 time, the drums in 6/8 time and the cello and tenor are in 3/4 time. For the "second section" the rhythm section switches to 7/8 time while cello and tenor move to 4/4 time. Stanley Clarke is on bass here and his deep and twisty electric bass line is placed prominently up front.

"Two Is One" is certainly the highlight of the album from a pure jazz standpoint, and it lives up to it's title, which according to Gene Lewis' liner notes is taken from a Thelonious Monk phrase meaning two people so in tune with one another that they become one. The album finishes off with "In His Presence Searching," a spiritually informed jazz number that is reminiscent of the work being done during this period by the likes of Pharoah Sanders and Gary Bartz, (while not being quite as out there as their best work). The tune is all rhythmic glory, with Rouse and Scott playing introspective and penetrating solos throughout. It's a nice album closer, and a good reminder that while Two Is One may be best known for it's funkier excursions, Rouse had a few tricks up his sleeve and the album, when taken as a whole, is a complete statement from a legendary jazz musician.

Tony Fruscella was an under-recorded mellow, lyrical, cool jazz trumpeter (think Chet Baker). He unfortunately lived a similarly addictive lifestyle that led to his tragically premature death in 1969. His cool tone, influenced by Miles Davis and swing-era veteran Joe Thomas, made him a sideman in the early ‘50s for artists like Lester Young, Gerry Mulligan, and Stan Getz.

In 1955, the same year he recorded with Getz, Fruscella led the only session officially released during his lifetime, I’ll Be Seeing You a.k.a Tony Fruscella. He is backed here by a great horn section of Allen Eager on tenor saxophone (who played similar sounds with Gerry Mulligan), Charles Mingus’ associate Danny Bank on baritone, and Chauncey Welsch on trombone. The rhythm section is rounded out by the prominently featured piano of Bill Triglia (who also played with Mingus), Bill Anthony on bass, and Junior Bradley on drums.

First Word Records are extremely proud to welcome aboard Allysha Joy and her first EP

for the label, 'Light It Again'.

Well versed in poetry and performance, Allysha Joy's potent lyricism, unique musicianship and killer vocals have garnered legions of attentive fans the world over. She's an integral member of the Melbourne soul jazz scene, known as part of the acclaimed 30/70 Collective and for her own equally revered solo work.

'Light It Again' is a 4-part expedition across a variety of grooves and deep lyricism that marks a defiant statement of intimacy and hope. Produced and engineered by twice Grammy nominated artist Clever Austin, the EP features accompaniment from an all-star set of Melbourne artists; Horatio Luna, Ziggy Zeitgeist, Danika Smith and Josh Kelly. This EP marks a new sound for the young artist, transmitting her honest and raw expression through the signature crunch and sonic landscape of Clever Austin.

Allysha is already well established across Europe, performing on the live circuit alongside the likes of Sampa the Great, Matthew Halsall, Ezra Collective, Bradley Zero and Children of Zeus, as well as currently hosting two regular radio shows, on Worldwide FM and Reform Radio in Manchester respectively.

Her 2018 debut album 'Acadie : Raw' on Gondwana Records won 'Best Soul Album' at the Music Victoria Awards, was nominated for a Worldwide Award, and featured in many an end-of-year list, including Bandcamp's Top Soul Albums, whilst she's also featured on releases on UK labels such as Rhythm Section, Total Refreshment Centre and now an EP for First Word, 'Light It Again'.

The EP touches on love, shame, mental health, grief & spirituality. 'Watercolours' sets off on a mid-tempo neo-soul jazz tip. Allysha says "I wrote this in the hope that maybe we could all feel the beauty that is present in the every day - in nature, in art, in each one of us mirroring each other so intrinsically. Then maybe we'd all start to live out a message of love."

'Better' follows on an uptempo vibe influenced musically by The Senegambian Jazz Band, who Allysha would watch regularly at Bar Oussou in Melbourne. Lyrically the song explores the external and internal struggles that occur trying to create a more inclusive and compassionate world. "It's about catching myself pointing the finger outwards to challenge social / political systems and certain individuals, then coming to the realisation that I must turn that finger back on myself to ask, "how can I do better, how can I know better?"

Lead track 'Light It Again' begins with Allysha's keys gliding a steppa-like rhythm - head-snap snares and punchy bass accompany ethereal harmonies and delicate vibes on an ever-evolving groove before switching entirely mid-track. This time the subject matter is mental health and "the cycle of addiction and pain, the coping mechanisms that hold us back from reaching our true potential".

The EP closes out with the beautiful 'Mardi'; deep Rhodes, sax and synths build ahead of deliciously slushy percussion and jilted drums. Named for her grandmother, 'Mardi' is a tribute to the spiritual connection they shared before her passing. Allysha writes, "it's about the connective forces of the matriarchal lineage and the drive to step into my own sense of self, in all the beauty and pain which that entails".

Allysha's lyrics weave together a heartfelt mix of love, power, desire, wonder, anger, faith and hope for change. An artist that presents a palette of intricate grace and optimism, whilst unafraid of adding uncomfortable truths. Allysha is an incredibly powerful live performer; her husky vocals sonically synced with her formidable Fender Rhodes playing, whilst her influences are a solid base of jazz, hip hop and R&B; all glazed with the unique special sauce the Melbourne soul scene has become known for globally. A gloriously meditative, raw soul, we are delighted to be able to share her music with you.

'Light It Again' is released on vinyl & digital worldwide, November 20th 2020.

A lucid dream meeting of synth waves, aquatic jazz spirits and drum-triggered electronics.'Linha D'Água'translates as 'water lines', fitting for an album that traces boundaries between water and air through an echo chamber of dizzying oceanic layers and free flowing ideas.

This is not a record based on genres. It's an album that navigates through atmospheres, through explorations and discoveries, through curiosity and dialogue. The eight tracks were recorded in a single day in the studio, but it is the result of more than two years of collaborations.

Mauricio Takara and Carla Boregas are two towering figures of the Brazilian underground/experimental scene, where they provide the rhythm section for demented genre-bending trio Rakta. While that band is all ritual percussion and red-blooded passion, as a duo they're a blue-water flowing counterpoint. From the drums, Takara fires melodies and, with the synthesizer, Carla sculpts the sound. The result iscaught somewhere between abstract improvisation and propulsive rhythm. Each song's an organic layering of manipulated synthesizers and acoustic sounds; teasing new rhythms from the drum kit via MIDI (and a near-telekinetic bond between Carla and Mauricio).

Sometimes'Linha D'Água'driftsclosest to ambient music, as in the title track, in 'Mãe D'Ouro' and 'Bocca Chiusa'; sometimes it runs into free jazz, as in 'Traçado Entre Duas Linhas'. There are moments when Carla and Mauricio explore a universe of tension that comes closest to the cosmic music of 70s Germany, as in 'Rosa de Areia' and 'Constante de Distância'; in others they evoke the metallic sounds of Indonesian gamelan (on 'Execution').

Carla Boregas is a founding member of the band Rakta, which started in 2011. She co-founded Auta, a DIY space dedicated to adventurous music in São Paulo hosting artists like Feminine Hi-Fi and Deafkids. She is also part of the transdisciplinary duo Fronte Violeta.

Mauricio Takara also plays drums/percussion with the bands Hurtmold and São Paulo Underground (with trumpeter Rob Mazurek from Chicago). Takara has played with a dizzying array of improv / experimental / jazz figures such as Pharoah Sanders, Damo Suzuki, Yusef Lateef, Joe Lally (Fugazi), Naná Vasconcelos, Prefuse 73, Makoto Kawabata and more.

What new can be said about this incredible band? They have played the most danceable electronic death disco on the planet since 2012…or was it 2112? The past and the future melts together, trying to draw their timeline but anyways, right now their new 7” ”Stonerdisco”/”Superstandard” is out on Höga Nord Rekords.

Exorcist have embraced hard rock more obvious than before, especially on the A-side, which is a boogie nightmare with fuzz bass and totally freed from guitar solos. The rhythm section with Osynlige Mann on bass and Tentakel on drums, plows in usual manner down space and time while Vesslans synthesizers shoots gamma rays through Exo-universe. The B-side is haunting, unsentimental dystopic disco.

The Exorcist prove that they still hold the powers of making supersonic dance music!

- Unreleased full version of this rare 45 for the first time.

- Cut from tape to lathe by the masters at Timmion Cutting Lab.

Western Michigan had a very healthy music scene throughout the '60s and '70s, with Georgia-born soul legend Jackey Beavers (aka Jackie Beavers) and producer Palmer James forging that area's soul identity. Beavers produced the recording by this obscure band from Battle Creek and issued their only 45 on his Jaber label. The rhythm section of Wright, Teasley and Scurlock were better known as Jr. Walker's All Star group, and they made this recording shortly before leaving the bandleader's ranks. The Us would share ties with the Apachies (track 20), for both bands included at some point members of Jr Walker's All Stars. Trombonist Jack Hill would be involved in both bands and would help create the unique arrangement on 'Let's Do It Today.' Bassist Larry Scurlock recounts the origin behind the song's theme, "We were ready to get on with it. No draggin' around, let's do this now, today is the day! I've lived this motto for all of my life."

The full-length version here shows The Us head into psychedelic regions in the final minutes of the song that have never been heard since they were recorded over 30 years ago. "I wrote it in less than half a day to get some royalties" remembers Scurlock. "We were experimenting with tuning, a quarter tone below the note. We were sure under the influence back in those days!"

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London



Originally released by Theresa in 1981, this frequently exquisite set features the McCoy Tyner-inspired piano of Joe Bonner on four originals, Cal Massey's "Quiet Dawn," and "Lush Life." Bonner and a rhythm section are joined by a string quartet, trumpet, trombone, and flutist Holly Hofmann (the leader provided the arrangements) for music that is both lyrical and often passionate. Bonner is an underrated talent, and this is one of his finest recordings. by Scott Yanow



Bonner is only the second-most famous pianist born in Rocky Mount, N.C., behind Thelonious Monk. It’s indicative of Bonner’s lack of fame and appreciation that Monk is listed as a notable resident on Rocky Mount’s Wikipedia page, but Bonner is not.

But the pianist Bonner was most often compared to was not Monk but McCoy Tyner. Scott Yanow’s allmusic review of Impressions of Copenhagen said Bonner’s piano playing was “McCoy Tyner-inspired.” Bonner’s admittedly biased drummer, Tom Tilton, even felt Bonner surpassed Tyner. “Joe Bonner has all the power of McCoy, he has all the capability of McCoy, but he’s so much more romantic,” Tilton said, according to westword “I mean, I’ve been there time after time where there were tears running down people’s faces when he would play a ballad. He could captivate a room like nobody I’ve ever experienced before.”

Bonner did most of his playing over the last two decades in Denver, where he was beloved and appreciated. Even Gov. John Hickenlooper was a Bonner fan. “He was without question, the most talented piano player I’ve ever heard,” the governor told the website heyreverb in a remembrance of Bonner. “… I want people to know that I loved Joe Bonner.”

LINER NOTES BY JOHN-PAUL SHIVER:

Reinier Thijs a.k.a. Thijsenterprise's new project Lahringen begins where most of his previous creations have left off. Through reedy skronking sax, no easy listening aesthetics here, we get that passport to the '80s. The intersection between Lou Reed's old New York attitude and the encroaching rhythmic assault about to hit. Post-punk, featuring steady bass lines—peak demon Jaco to cool as fuck Slits era—in transit.

The first track in, bumping new-wave-jazz bravado, immediately covers those grounds the Dutch native likes to dig in on. He pays tribute to Gato Barbieri with "El Arriero", continuing in that off-kilter mash-up of sound textures. This time its beats and machismo.

But "Sketchy", an original arrangement, taps Reinier's dedication to skateboarding. Named for when skate rats land a trick sloppy, non-smooth, or ugly he does in fact match the sound of the bass with the feeling of ‘meh.’ “The drums and percussion in the track carry a driving pulse, and the saxophone plays a light melody, ping-ponging between the groove of the rhythm section, making the track very repetitive, catchy," stated Reinier.

• Original 1996 compilation by Gene acts as a fine album in it’s own right
• Featuring early tracks such as ; ‘For the Dead’, ‘Be My Light, Be My Guide’, early live performances from Glastonbury, Radio 1 Session and The Forum and stand out cover versions of ‘I Say A Little Prayer’ and ‘Don’t Let Me Down’
• Double LP pressed on 180g Heavyweight vinyl, with original artwork and printed inner sleeve
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

• This is Gene’s second studio album released in 1997
• Singles include ‘Where Are They Now?’ (no.22 UK Charts), ‘Speak To Me Someone’ and ‘Fighting Fit’
• Double LP pressed on 180g Heavyweight vinyl, with original artwork,
presented in a gatefold sleeve with printed inner sleeves
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin
Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

Reissue of this mesmerizing record including an unreleased alternate mix of "Subterranean Zappa Blues". Hypnotic rhythms made of slow minimal beats, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter.

"This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94.

Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge. Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. We’d started an album together at IC Studio that was never finished. He then sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together.”

Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite.

Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds.

Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.

The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound.

Cameroonian Joe Bisso's earliest musical influences didn't come primarily from his homeland, but more from the neighbouring Congo, where the kind of early 60's Congolese Rumba played by the likes of Franco / TP Ok Jazz, and Tabu Ley Rochereau was establishing itself as a musical force in the region.

Alongside this exuberant, swinging, jazz influenced sound, the growing impact of the all conquering US soul titans became inescapable, and sprinkled with a bit of Johnny Halliday & Co's smooth chanson over the top, we get a snapshot of where Jo Bisso and friends post school musical experimentation was headed in the late 60's.

As that decade drew to a close, the single minded Bisso headed off to France to begin his quest for the future, and by 1972 could afford the journey to the US that he'd long dreamed of.

Enrollment at the Berkeley School of Music in Boston soon lead to a new band coming together, and by 1974 the all conquering, multi faceted approach that marks Bisso's musical career, meant he'd written, produced and sung on his debut single for the mighty Decca Records. 'Flying To The Land Of Soul' drew heavily from James Brown's propulsive dancefloor funk, whilst wearing it's African colours loud and proud via 'African Express' chants, and drums front and centre.

At the same time, Bisso and friends had started to immerse themselves in the fast emerging disco sound pulsing outwards from Downtown NYC into the Boston nightclubs, and by the time his debut album 'Dance To It' was released on France's influential Le Disques Esperance in 1976, it was the driving, 4/4 floor power of disco that was to define Bisso's sound on that, and the following two albums.

Whilst Bisso's immersion in Disco was based around it's energy and musicality (rather than any associated hedonism), 'African Disco Experimentals (1974 to 1978)' paints a picture of an artist dedicated to the underground club side of the scene, rather than focused exclusively on the fast emerging pop potential of the sound at the time.

The album's tone is set by 3.20 mins of building, tribal percussion and rolling rhythms of the opener 'Love Beat', a 'strictly dancefloor' approach mirrored in the near 11 mins of 'Love Somebody', building from soulful keys to deep bass funk, extended percussion breaks, joyous squelchy Moog licks, breathy vocals and more (interesting footnote : Bisso is credited as Producer / Writer / Arranger, but 'Recorded by' is attributed to Joe Chiccarelli, better known in recent years for his work with The White Stripes, Shins, and Broken Social Scene.)

Still clocking in at a healthy 6 mins plus, "The Mystery With Me" (1978) makes a nod towards more radio friendly waters with it's hooky, floaty choruses and tight structures (a then 22 year old Arthur Baker is credited as sole writer on Discogs - Bisso himself doesn't seemed convinced by this idea, but that's another story...)

'Let's Keep it Together' (1977) loops the song title over a slower groove, with free form electric guitar licks adding new textures, whilst 'Disco Madonna' (1976) showcases Bisso at his most playful, combining spoken word Hispanic vocals, rattling percussion and more of the always welcome Moog, switching up keys at the end for an unselfconsciously camp finale.

And if anything sums up the ambition of Bisso's work in the field at the time, 'Play Me' (1978) can lay claim to being the magnum opus. It's presented here as a continuous 16 minute extravaganza (as opposed to the 4 parts it came in originally) : lush strings, hypnotic vocal sections, irresistible basslines, crisp drums, the odd Barry White style interjection, disco moans, the occasional nod to a chorus vocal. None of it seeming in much of a hurry to go anywhere in particular, choosing instead to joyfully revel in the expansiveness of the form.

The story of how Transatlantyk came to be is, in many ways, one typical of our times. We've grown accustomed to being isolated, even stranded, in recent months, and Technology has become our means of overcoming these aspects of quarantine.

For Lübeck-based producer David Hanke, a.k.a. Keno, and Los Angeles-based musician Tristan de Liège, their intercontinental relationship began long before the days of lockdowns and social distancing. The pair 'met' on-line through mutual friends back in 2018 and quickly realised they were, in a musical sense, kindred spirits. Their shared tastes meant that what started out as a single track quickly morphed into an EP, and finally the full length album that you're enjoying right now.

Tristan's experience as a neo-classical musician was the ideal foil for Hanke's skills with a sample and production expertise. Both shared a love of the more lush and cinematic end of instrumental Hip-Hop and Downtempo music. This sound partnership is evident throughout the album, but particularly on tracks like Nkosi, and the title track, where luscious string sections dance playfully with fractured, programmed beats; or the melancholic opener, Kouyou, where more laid back drums underpin muted horns and joyous harps.

The pair's perfectly formed fusion isn't the end of the story though, as French chanteuse Elodie Rama is on hand to provide not only some impeccable vocals, but also irresistible melodies to this already mellifluous long-player. Speak The Language sees this brilliant vocalist drift seamlessly between euphonious song and spoken word whilst delivering one of the ariose moments of the whole album. Elsewhere, on Dancing In The Dark, Elodie gives a slightly more sombre performance, combining with lavish strings and driving rhythms to a tee; and on To Find A Way offers up an even more emotional and almost heart-breaking performance, aided by wistful and forlorn instrumentation.

Transatlantyk is a body of work from an amalgamation of rare talents who combine beautifully to take us through myriad emotions; from the urgent and compelling Off The Mark via the pensive Forever We Were, and finally find their Way Across thanks to a shared love of graceful and refined musicality and a good song.

To this day the three have never actually met in person, but here's a last hopeful thought that one day soon, as we emerge out of the darkness, they can finally join together in a physical, as well as a musical, embrace.

DOWNFALL is the first album under the name SAITO created by Lena Saito, aka Galcid, and produced by accomplished analog synthesizer guru, Hisashi Saito, aka Lena’s husband. Having descended from a long line of Japanese sword-smiths, the industrial sound of smashing steel is embedded in Lena’s DNA and reflected in her music, however there are also refined, hypnotic tones showing a side with more finesse. The music itself is not scored and is predominantly improvised. Words and vocals are ad libbed as well. Sometimes the machines respond as if through telekinesis, altogether emitting a sound which can be categorized somewhere in the range between modern experimental dance music and something possibly making more sense to enlightened minds a thousand years in the future.




There is a new addition to the forge of talents of Mille Plateaux, a Japanese musician by the name of Saito whose album has been released on the label under the title of Downfall. After a whole series of releases under the signature tag clicks & cuts, there comes out a work, much more suited for a dance hall, that is different in terms of the genre from everything that has been published so far.
Like a bucket of ice-cold water poured over the head, erratic agressive hardcore rhythms pour all over the audience in the first track, interrupted only by grinding noises and minimalistic technogenic clicks.
Downfall won't fail to infect even the most experienced music connaisseur with its out-of-control energy, while offering a wide range of techniques: at times, robotic voices, one second long fragments of looped melodies and many other audio gimmicks.
Lena Saito (that is the author's name) is not afraid of conducting experiments in her chemical laboratory, freely mixing sound reagents without taking any precautions. It feels like, this new chemical substance, that she has been working on so thoroughly, contains quite a long list of ingredients, although its main component is the various rhythm breaks.
The synthesizer part of Red Hammer sounds in the best traditions of the acid style, and the rhythm section is akin to African tribal dances of the future. Downfall is absolutely unrelenting in its concept.
The melody of the composition Nucleosome is a little bit like the melancholic IDM of the 00s, finding itself secondary to the dominating, yet again convoluted rhythmical web meticulously woven by Saito.
This album can be definitely named as a big contender aspiring to start a new golden era of Mille Plateaux, and Saito as the hidden treasure of the label that can challenge even the veterans for the right to be the headliner.

Birds are singing, a soft female voice embraces the stars, then the funk hits the fan: the second album of mysterious Japanese singer Nadja haunts immediately and marks one of the most exquisite reissues in the ever-growing catalogue of Studio Mule. Originally released in 1989 as promo only CD on the Japanese label Polystar, the album features some of the finest eighties pop funk fusion arrangements of the era. A deeply enchanting lost gem, that gets listeners instantly into heavy repeat addiction.

All ten songs are arranged by a group of grandmasters of their art. Japanese saxophonist, composer and music producer Yasuaki Shimizu, man behind the electronic ambient fusion classic “Kakashi”, was in charge for tunes like “Wac-Wack”, a neon light funk pop song, full of soft big city eroticism, ultra-slick synth lines and real funkateer explosions. It’s followed by “夢のとりこ”, the most stirring pop tune on the album, that originally was written by French composer, multi-instrumentalist, actor and singer Areski Belkacem, known for his and long-time collaborations with French avantgarde singer Brigitte Fontaine. Shimizu transformed the song into a low hanging funk jewel, with a cool rolling bassline, dub depth and synths that cry for cosmic help. Above all Nadja signs with a sexy chill, that somehow could only emerge in the 1980ees, when the cold war even made pop music real cool. The follow up is named “真珠のように”, features again music by Belkacem, this time transformed by Shimizu into electronic erotic pop - dreamy, witchy and precisely musical composed.

The B-Side opens with “Velvet Rain”, a funky urban boogie composition by Japanese keyboard player, composer and producer Akira Inoue, enlarged with glimmer camp kitsch, that immediately puts a smile on the listeners faces. It gets followed by “Paradise Catcher”, a soft pop tune with longing string and horn sections, arranged by legendary Jamaican rhythm and production duo Sly & Robbie. It somehow marks one of the strangest songs in their longstanding career, as it is largely minimal orchestral but yet super tight when it comes down to the rhythmic magnitudes. The next tune, “Private Tripper”, also stays soulful, funky and horn driven. Always pleasing the super tight, yet feathery voice of Nadja, that is dancing about boogie grooves and illuminating melodies with a seducing tragical coolness. Finally the album ends with a stylistic break in the overall musical atmosphere. It comes from Japanese musician Hiroaki Goto, it’s called “地図をずっと南へ”and features Afro-Brasilian voodoo rhythms, pan flutes, cosmic piano notes and Nadja, singing like a rain forest sorceress from outer space.

Ten arrangements by a bunch of high-grade arrangers, that all left Nadja’s voice enough space to widespread her talent as a supremely seducing singer, who wrote all lyrics, vocals and chorus by herself in order to present her touching vocal class in a vivid, bewitching timeless style. Come in and get ensnared!

To close the 3 EP reissue series of Neville King and Lee Laing's King & City label, the all female group Charisma are presented with their summer infused Lovers cut, Everything Is Fine.

Three Lewisham friends, Angela Richardson on lead vocals, with Geselle and Janie backing, were active from 1982 to 1990, but are really remembered for the early recordings made with Neville King. Their debut, Everything Is Fine rides the Lovers sound at its peak. Written with One Blood's Lloyd Robinson, with the rest of band of Robinson brothers providing the rhythm section, this is pure South London sound system music.

Recorded again at TMC (Tooting Music Centre) Recording Studios - working alongside the likes of Dillinger, Tradition and New Musik - Everything Is Fine rides a beautiful soul reggae rhythm as Trevor (Drums) and Lloyd (Bass) Robinson set the foundations, while One Blood provide the Dub mix.

A true love's lament, a song of hope, serenity and pure vibes. Label head Chuggy slides behind the mixing desk for an extended Discomix that stretches, loops and dubs the vocal and dub back forth, to close a glimpse at this uniquely British phenomenon, taking reggae closer to it's heart and soul.

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

ATA's newest release comes from The Yorkshire Film & Television Orchestra and features the vocal talents of Bugalu Foundation & Mind On Fire vocalist Martin Connor. This cover of the Georgie Fame classic "Somebody Stole My Thunder" features a powerhouse vocal performance from Martin Connor alongside the heavyweight big band brass sound of the Yorkshire Film & Television Orchestra's 10 piece horn section. This 7" single is backed with Rachel Modest's debut recording for the label, her intense vocal rendition of the Ben E King classic "I Who Have Nothing". Both tracks feature the trademark elements of the ATA sound: Big brass arrangements sit alongside the propulsive rhythm section, perfectly supporting both singers incredible performances.

Originally appearing as part of ATA Records free download series "Hard Work, No Pay" these 2 tracks have been sought after on vinyl for some time after garnering radio play and positive responses from BBC6 Music's Craig Charles Funk & Soul Show and the Huey Morgan show.

The Yorkshire Film And Television Orchestra is the brainchild of ATA founders Neil Innes & Pete Williams and multi-instrumentalist/arranger Steve Parry, who was approached by Neil & Pete in 2014 to provide the horn arrangements and brass performances for a then untitled British library style track intended for release as a 45. That track went on to become the track "Hawkshaw Philly" and features on the compilation "Early Works: Funk, Soul & Afro Rarities From The Archives" released earlier this year. Their shared love of huge big band arrangements and British library music ensured future collaborations, notably on this year's "ATA Records: The Library Archive Vol. 1".

Martin Connor is a well known face to anyone familiar with the Mancherster music scene and has spent 10 years as part of the Manchester collective "Mind On Fire" before providing vocals for the Latin-Funk band Bugalu Foundation (Legere Recordings).

Sheffield born,Rachel Modest developed her unique vocal ability within the churches and gospel choirs of her local community. Now based in Leeds she has developed a powerful and soulful vocal style that takes inspiration from artists such as Madeleine Bell, Dee Dee Warwick, and Dusty Springfield. Her debut for the label was this cover of the Ben E King classic "I, Who Have Nothing", which was later followed by an appearance on the debut 45 by The Magnificent Tape Band "Patterns in My Mind"and her own solo 45 "I Try/Forbidden Love", as well as collaborating with The Magnificent Tape Band on their debut LP "The Subtle Art Of Distraction" all of which received radio support from the likes of Gilles Peterson (BBC6 Music), Huey Morgan (BBC6 Music/Radio 2) and Lauren Laverne (BBC6 Music).

Over the years, the sonic world of Heist has grown into a place where energetic house, live instruments and worldly electronics move together in the most natural way. We're very proud of the fact that we can showcase artists that cross boundaries or simply create their own universe, while keeping a strong connection with the identity of the label.

Our next release, the 'Exposures EP' by Teleseen, fits perfectly into this aesthetic. Teleseen is the main project of nomadic DJ, producer and multi-instrumentalist Gabriel Cyr and draws influence from deep house, afro house, samba, batucada as well as the experimentalism and sound system cultures of his home town NYC. His sound leans heavily on polyrhythmic programming and he's nothing short of a synth wizard. His 'Exposures EP' features 3 originals, and a remix by Berlin based Italian house guru Black Loops.

The record features a number of collaborators and recordings of various instruments, ranging from percussive sections to synths and guitar. This live approach to electronic music is one that is deeply rooted into Gabriel's work. His upcoming release on Soundway as 'Thaba' is another good example of this approach and also shows how diverse his sounds really is.

The title track is a thrilling synth affair with tribal-like chants running through a vocoder. The combination of handclaps, crunchy synths and steady drums make for a thrilling afro house track that hints towards early motor city electronics.

Black Loops is known for his deep grooves and built his fame with his releases on Freerange, Pets and Shall not Fade. His take on 'Exposures' sees him upping the tempo to a pacey 130 bpm, where an introvert vibe of reverbed hits and bleeps take you into full dream mode. He expertly chops up the original into a contemporary track that fits somewhere between high tempo tech-house and minimalistic deephouse.

On the flip we get to hear more of the sonic world Teleseen has to offer. 'Dekalb' is a track that seems impossible to box into a genre. Its mood is set by a lovely section of free-flowing Rhodes chords and the chopped vocals and open synth- bass give the track a whole new feel. It is that ballsy electronic edge combined with dreamy textures and live rhythms that give 'Dekalb' its unique vibe.

The final track of the EP -'Transfer'- takes us down to a mid-tempo percussive workout with a balearic twist. The steady electronic groove and the free flowing guitar take you to yet another corner of Teleseen's beautifully crafted universe.

Enjoy the music and play it loud!

Yours Sincerely,
Lars & Maarten

From Mille Plateaux to Leaf, Staubgold and Raster-Noton, ~scape, or on his own label Ripatti, the Finnish artist Sasu Ripatti aka Vladislav Delay has been exploring various iterations of the dub culture vs. electronica, since 1997. His sonic crafts and unique signature sound has been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective or AGF.

Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being, influenced, Vladislav Delay is building a drifting and coherent sound enigma.

Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project.

The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar and Shakespeare.

In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip.

This became a tribute to the 'dub spirit', but in a very personal way, far beyond any influence or "the obvious". 500-PUSH-UP is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments - for instance - such as Lee Perry's 'Scientist Rids The World Of The Evil Curse Of The Vampires' or the On U-Sound productions.

One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It is an open exploration of music and the soul.

The band’s last release to feature Merv Pepler and Joie Hinton, who left to form Eat Static, ‘Arborescence’ was the Ozrics’ fifth studio effort in as many years. Soundscape textures remained their focus and their strength, with the now trademark Steve Hillage-esque guitar, gurgling and whirling synths and tight rhythm section all wrapped around rave, techno, African and Middle Eastern influences.
The tracks alternate between the power driven (‘Myriapod’, ‘Shima Koto’, ‘Astro Cortex’), classic Ozric Tentacles space rock (‘Dance of the Loomi’, ‘There’s a Planet Here’, the title track) and those with an ethnic flavour (‘Al-Saloog’).

The powerful music here, embellished by plenty of synth dweedling and strong rhythm patterns, takes the listener of open mind and free spirit to somewhere special. Classic Ozrics then.

‘Arborescence’ will be released on 180g red vinyl as the fourth title in the Ed Wynne remasters series on Kscope.

Rickard Jäverlings music can deservedly be described as playful and searching but for that sake not fumbling or too loose around the edges. On Album 4, the second album release from Jäverling on Höga Nord Rekords, he dwells more in dub than on his prior album release, and Jäverlings skillful songwriting is carried smoothly by the soft and fluffy production: the rhythm section sounds as if resting upon a sun warm bed of moss and elements flows in and out of the production like a freshly rippling stream of water deep in the summer forest. Echoes shoots through the pines, the hills and the valleys and makes the album a premium dub experience which dominates large parts of the album.

Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs.

With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3.

Cogitate is the first release from NYC local Promoter and an invitation to gaze inward and sit with sound. Borne of hours lost in loops, Promoter calls forth deep, dubby bass rumble, off-kilter rhythms and murky atmospherics, relishing in repetition and evolving subliminally but surely. Disorienting, engaging and engulfing, Cogitate is the 4th release on NYC-based Patience, catching you off guard then inviting you in.

Cogitate offers two cuts from the same cloth - one locked into the grid, the other drifting far above it. Both begin with shards of static cascading over submerged synth stabs - on Cogitate 1.1 a bassline bubbles up from below before a kick drum sneaks in and drops anchor, driving forward a slice of sparse zero gravity dub techno for a zonked out dancefloor in a dream. Cogitate 2.0 offers a pared back version of 1.1, slowed down and stripped of the rhythm section. A gentle brain scrub or a cascade of mind tricks depending on your headspace. Is the sequence evolving or is your perspective on it shifting? Does this sound like something I know or nothing at all? Has this been going for 3 minutes or 3 hours? Is this climax sublime or simply creepy?

Whatever it is, Promoter presents an opportunity to let the mind wander, and offers proof that repetition invites participation. Both cuts simmer in ambiguous emotion, never spelling out what to feel but allowing the listener to be their own trip commander.

Promoter is a new project from a life-long NYC resident, most recently releasing a couple of 12”s under the Image Man moniker, who for the most part would prefer that the music is received on it’s own terms, with a mind wide open.

Cogitate 1.1 was mixed by Mood Hut mixologist CZ Wang. Both tracks were mastered by M. Geddes Gengras.

Following this release will be an extremely limited cassette of material recorded in the same time and (head)space. Keep an ear to the ground for that one.

Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Time Lapse is the debut EP from Monzanto Sound, scheduled for release on September 4th 2020 on None More Records. Across the 5 tracks, the four piece journey through krautrock inflected funk, psychedelic trip hop and cosmic neo-soul.

This release follows on from their Moses Boyd produced track 'Open Flower' being included on Rhythm Section's 'Shouts' compilation celebrating 5 years of Rhythm Section, which dropped in April.

Parisian label Chuwanaga curated by Clémentine & Saint-James is back in the production game with fresh music from Ishkero, maybe the hottest Jazz-Fusion band of the capital city. Going from Jazz-Funk to Afrobeat through Prog and Psychedelic influences, Brume infuses together killer grooves, irresistible melodies and excellent musicianship. The 12inch, coming with its beautiful illustration, reveals a uniformly good yet diverse musical journey. Behind Ishkero, you’ll find five young and gifted musicians with strong jazz knowledge: Tao Ehrlich (drums), Adrien « Dridri » Duterte (flute & percussion), Antoine Vidal (bass), Victor Gasq (guitar) and Arnaud Forestier (keys). With its strong evocation power fuelled by their youthful energy and creativity, Ishkero’s music is a one-of-a-kind variation on the Jazz genre. Fusion at its best potential! Expect intense rhythmic sections, virtuoso solos, lush FX sections and robust arrangements. Used to play a lot live, the musicians developed a vigorous connection that really shines on stage and during studio sessions. Collectively with Saint-James as their co-producer, they recorded Brume in summer 2019 at Studio Delta (Paris) with sound engineer David Cukier aka Greita (Disques Flegon). The first track, "Triple B", is an ode to 70’s jazz-funk carried by Jeff Mercadié’s Sax performance. "Tonik Gin"’s mighty jazz-rock groove which comes afterwards brings the genre to its emotional climax. B side starts with the main track "Brume", bringing together long-tailed reverberated guitars and Mizell-like piano chords for a very warm and hazy effect. As the last track, "Gare De l’Ouest" is a nice jazz variation on the Afrobeat genre, again with Jeff Mercadié on Saxophone.

Brand new release from Turbo Guidance Entertainment! We deliver a compilation with 4 versatile dubs cooked by our wizards ! Pablo Bozzi (half of Imperial Black Unit and half of Infravision) signed "Sangria Sound System N°1", a slow burner italo-disco track. Perfect to close a cosmic set in the afternoon drinking pepper-mint lemonades! Cowbells everywhere and powerful arpeggiator. Watch out the guy, this year is going to his year! In the second position we have a reggae-disco remix from the man Androo; part of NS Kroo and also well known on the label Music From Memory. He totally switched the
original dub techno track of Babe Roots into something sweet and bouncy. Lobster for you ears. You can even ear autotune on the vocal! Awesome! Coming at the third place, here come Komodo from Indonesia! "Funky Buzz" is a perfect blend of tribal and dub rhythms with a repetitive bassline. Big delays and full effects to rock iguanas. Komodo is a rising star of South Asia, look at the sky to see him shining like a Telsa soon ! And last but not least, we serve you a sweet downtempo riddim from Mali-I aka Z Lovecraft (Rhythm Section). He built a hip-hop influenced track with aerial chords. Perfect music if you want to take the mic and try to toast like a real badboy. Only 400 copies for the world. Sleeve visual is gently printed in risography 3 colors at Shift Studio (Tunisia) - DIY each and everytime.

The legendary Monk's quartet appearance at the world-famous Concertgebouw in Amsterdam in May 1961. The high priest of Bop, one of the most important, if enigmatic figures in modern Jazz together with three of his main disciples, tenor sax specialist Charlie Rouse and the ultra dynamic rhythm section of John Ore - double bass and Frankie Dunlop - drums, in a wonderful performance based on super tight renditions of classic tunes such as Jackie -ing, Straight No Chaser, Crepuscule with Nellie and Rhythm-a-Ning. Surely, both the band and a packed house had a ball that night!!!

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

We're glad to be back with our latest reissue, a couple undercover soul gems from the Midwest originally self-released in 1984: LaVerne Washington's "The Promise" and "I Found What I've Been Searching For".

LaVerne has dedicated her life to the arts in every possible way. As an artist herself but also behind the scenes, helping and supporting her contemporaries fulfil their callings. Charlie Parker, Count Basie, Ella Fitzgerald, Mary Lou Williams - LaVerne grew up in Kansas City listening to the all time jazz greats, and soon discovered she was blessed with a keen sense for playing music by ear, playing the piano to what she would hear on the radio. In her teens whilst the 60s transitioned to the 70s' disco and funk era, LaVerne was there to witness it all, and she would go on to study music at the Charlie Parker Academy where she was inspired to become an entertainer.

At Langston University, LaVerne kept studying music where her career blossomed, founding and touring the US with the gospel group "Emery Shaw and the Voices of Praise", singing in several college bands and with her choir "The Voices Of Bethel". LaVerne would go on to perform notably with her bands "LaVerne Washington and Rococo" and the "LaVerne Washington Quartet", and record several songs in KC including "The Promise" and "I Found What I've Been Searching For" in 1984 before moving to Washington DC.

In DC, LaVerne was offered a position as a Program specialist with the National Endowment For The Arts where she started supporting other artists through her work. Over the next couple decades, LaVerne became an associate producer for the Rhythm and Blues Foundation and the Pioneer Awards Ceremonies held in New York, Philadelphia and Los Angeles, which saw the likes of Prince, Aretha Franklin and Jerry Butler attending among others. She has also managed and was mentored by DeeDee Sharp and consulted with artists including Bonnie Raitt (who acted as a mentor to Laverne as well), Kim Weston, Kathy Sledge (SisterSledge), Smokey Robinson and G.C Cameron (Spinners). During that time, LaVerne has kept singing, on her own and as a backing vocalist for DeeDee Sharp and Freda Payne and has never stopped her lifelong dedication to music and the Arts.

The Promise original 7" was LaVerne's last recording in Kansas City before her move to DC and the beginning of her involvement behind the scenes. Channelling her gospel roots - with impeccable arrangement, a contagious drum machine led rhythm section, soaring vocals and relatable lyrics, "The Promise" is guaranteed to bring back smiles to dancefloors and living rooms alike! "I Found What I've Been Searching For" on the flip is a beautiful soul ballad which really showcases the strength and emotion in LaVerne's voice.

Back again in it's original 7" format, we've had the audio transferred and restored from the original 24 track tape provided by LaVerne, and got the recordings re-mixed for the best possible sound! Floating Points behind the mixing desk for this new iteration of a lost classic, comes with a 14"x14" poster of the original picture

It is possible that a deeply fickle Bryn Jones, who was never happy with remixes of Muslimgauze music apart from his own, might be with this one.
Extreme, an earlier Muslimgauze label, had a long history of remixing the material Bryn sent to them and this was the main reason for the artist to move to the staalplaat label.

It’s an interesting coincidence that Extreme hired Anders Peterson to remaster Muslimgauze for them. In the process of listening to masters and studying the music, the idea of a remix or ‘rework’ seemed an intuitive next step, reflects Peterson, “The remixes are based on various material from about 6 DAT tapes. I did not choose any specific tracks, rather sections and parts of all the recordings on those tapes. I did not seek to do a remix, it just grew up of that remastering project. I think I could not find any artist in any genre, anywhere, that would be more interesting to rework / remix than Muslimgauze, so I definitely feel very honored having been able to record these remixes.”

Musically, this release falls in line with the more deep spiritual, meditative, abstract side of Muslimgauze, which is often overlooked. The music remains timeless, the production as crisp as ever. Those familiar with the Muslimgauze oeuvre know this music is more than just a series of infectious rhythmic works. Rather a historical document, a musical commentary on the tumultuous times that inspired it; a reflection on the Iran/Iraq war, Operation Desert Storm, the Soviet invasion of and retreat from Afghanistan and the first Intifada. Anders Peterson brings the music of Muslimgauze and successfully found new ways to reveal the artistries from one of the 20th century’s more intriguing artists. Through circumstance, Staalplaat is to ensure that the remix project sees the light of day, now available on the evidently timeless medium of a vinyl record.”

A memorable name with an outstanding cover, Fuzzy Duck is a classic slice of underground London art rock and melodic psychedelia. Originally released on MAM in 1971, it’s truly a musical force of infectious riffs and fiery solos, sharp tempo changes, a tight rhythm section and heavy, Hammond-drenched grooves. With echoes of Spencer Davis Group, early Grand Funk and Vanilla Fudge, it comes on like a heavier Soft Machine or Caravan. No wonder Fuzzy Duck’s cult appeal has endured.

The album features Mick Hawksworth (Five Day Week Straw People, Andromeda) on bass, acoustic 12-string, electric cello and some of the vocal duties, and also Roy “Daze” Sharland (Crazy World of Arthur Brown, Spice) on organ and electric piano. Accompanying those two were Paul Francis on drums and percussion, and Grahame White on guitars and the rest of the vocals.

Originally released in an edition of 500, Fuzzy Duck became legendary all over the world through a holy trinity of scarcity, personnel and its sheer brilliance.

The album kicks off with a heavy, bass-fuelled, Hammond rocker titled “Time Will Be Your Doctor”. This is pure hard-edged blues rock, brilliantly played. Its drum break intro was sampled by DJ Premier for Gang Starr’s “Mostly Tha Voice” on 1994’s legendary Hard To Earn. And we can hear its personality all over Harvey and Thomas Bullock’s Map Of Africa.

Rollicking highlight “Mrs. Prout” follows. At nearly 7 minutes long, it incorporates more psych-leaning guitar and drawn-out keyboards à la Ray Manzarek with the band effortlessly switching from jazzy rhythm section to a progressive one. That magnificent instrumental jam that starts half-way and continues through to the end is a true wonder.

“Just Look Around You” is propulsive folk-rock with a soaring, proto power-pop chorus, backed by frenetic organ and heavy bass high in the rich, intoxicating mix. Back comes the heavy, strung-out psych to both close out side one with “Afternoon Out” and kick off side two with “More Than I Am”. Both tracks are improvisational winners that stylistically nod to the late sixties and “More Than I Am”’s guitar hook, catchy organ and memorable chorus would’ve surely made it a great single.

“Country Boy” quenches the thirst for rhythm and melody, only the lyrics and vibe are wonderfully creepy. The sudden cut of the groove and the drop into a more sinister tempo will make you stumble, before the band pick up speed and toss you back again into the opening jam, this time with a badass organ to ride you home. The final, fully fleshed out track is the majestic “In Our Time”, which oscillates between endless organ-driven boogie and heavenly, genuinely moving vocals. Just stunning.

Infamous instrumental cut “A Word from Big D” rounds out the album. Yes, that’s the band jamming with duck quack sound effects accompanying the music. “Ducking vocals” as the sleeve says. You know, just in case the whole “duck” theme had passed you by. It’s an appropriate closer for what sounds like an album that must have been *a lot* of fun to record. It’s definitely fun to listen to.

Mastered by Be With’s chief sound duck Simon Francis and cut with glee by the veteran Pete Norman, this reissue of Fuzzy Duck’s one-and-only LP sounds as mighty as it should. That unforgettable sleeve artwork has been carefully restored and the records pressed by the wonderful Record Industry in the Netherlands. Essential.