Search:rhythm

Known for crafting infectious rhythms infused with an otherworldly strangeness, UK-based producer CAIN makes his debut on Darker Than Wax with Sarissa - a seven- tracker driven by his signature percussive style.

Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.
‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
“Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.
Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.
As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”

On High Flying Man, the third LP by Matt Berry’s pseudo-eponymous project The Berries, loss and desire take center stage. Berry delves deep into 21st century malaise, crafting densely layered songs which project an unshakable yearning for deliverance from the world’s shortcomings. Each track extends an outstretched palm towards universal connection, blending a complex of mix of pop hooks, rock swagger, and psychedelia into dejected populist anthems. Faced with the perils of an isolating world, High Flying Man reignites the tradition of great American songwriting, speaking in the voice of the longing masses. At heart, Berry demands more life, rejecting both arty cynicism and nostalgic escapism.

Berry cut his teeth at a young age playing in the bands Happy Diving (Topshelf Records) and Big Bite (Pop Wig), and has since regularly served as a touring member for bands like Angel Dust and Dark Tea. His early work with Happy Diving and Big Bite solidified his position as an upcoming star in the world of fuzzed-out indie rock, earning him tours and opening slots with the likes of Turnstile, Dinosaur Jr., Nothing, The Swirlies, and The Coathangers. With The Berries, however, Berry turns the Big Muffs down (although not off), creating sonic space to stretch his wings as a burgeoning pop songwriter. The psychedelic-surrealist textures of his earlier output are not gone, per say, but rather find themselves folded into more expansive, rock-oriented arrangements, becoming accoutrements as opposed to the driving force of each song itself.

High Flying Man follows The Berries’ previous releases, 2018’s Start All Over Again and 2019’s Berryland. While longtime listeners will undoubtedly recognize Berry’s disaffected drawl and melodic sensibility, High Flying Man’s complex arrangements and expansive sonic landscape place it well apart from its predecessors. Berry enlisted live band members Danny Paul (drums), Emma Danner (backing vocals), and Lance Umble (bass) during the recording of High Flying Man, as well as the mixing talents of Rob Schnapf (Elliott Smith, Beck, Guided by Voices), breaking from the self-produced home recording ethos of the previous Berries LPs. The collaborative nature of High Flying Man’s recording process is reflected in the quality of each song’s arrangement. Freed from the pressure of being individually responsible for every detail committed to tape, Berry was able to focus his attention more fully on the creative demands of constructing a dynamic and cohesive record. High Flying Man pivots away from any sort of obvious nod to Americana tropes, baggy British attitude, or Neil Young-esque riffing, leaning head on into a lush, idiosyncratic grandeur.

Each track evokes the irreverent and flashy style of a songwriting voice finding itself for the first time. Berry’s guitar heroics extend towards new heights, channeling the simple pop mastery of Lindsay Buckingham (“Prime”) and the wicked emotion of a 21st century “November Rain” (“High Flying Man”). Unusual stylistic juxtapositions give certain songs an almost timeless quality: Bert Jansch-esque crooning finds its counterpoint in sweeping, distortion-soaked riffs (“A Drop of Rain”), the primitive rhythms of Amon Duul are given an arena-sized, Britpop facelift (“Life’s Blood”). On High Flying Man, however, the ballad reigns supreme. “Down That Road Again” drips with sentimentality, powered by soft, undeniable pop melodies and pared-down chord progressions. Album-centerpiece “Eagle Eye” teeters between pure grace and extreme sorrow, unfolding into a massive, immediately memorable tide of melancholic beauty.

Lyrically, High Flying Man is both simple and direct. Although often bitter about the state of the world, Berry has no overtly political axe to grind. In some instances, he takes jabs at the moral laziness of aging millennials, expressing his yearning for a return to vitality and conviction (“Prime”). In other instances, Berry turns his criticism inwards, examining his longing for a better life and his repeated tendency to self-sabotage (“Down That Road Again”). These two poles balance each other out, creating a thematic tenor which is more so self-implicating and empathetic than critical. If anyone is to blame, it is the world we have been saddled with, not the people left to pick up its pieces. Although often personal, Berry’s words evoke a universal experience of continued belief in the face of loss. “High Flying Man” chronicles the growing distance between Berry and an old friend who has been shipwrecked by the weight of trauma, evoking the sorrow of trying to love someone who is no longer able to keep up with reality. Even the most somber passages of “Eagle Eye” (“long before I become aware of it, my friend/it’s 6 AM and I’m gonna die”) find their redemption in a burning devotion towards something worth living for (“If there’s one thing I can depend on/it’s my old friend/my shining light/my eagle eye”).

With High Flying Man, Matt Berry embraces undying love in the face of isolation. Daring to want more life becomes a spiritual rallying cry against a world that has failed to make life either meaningful or beautiful. At their core, these songs are not about revolution, but they are about the faith that gives something like revolution a purpose in the first place.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING PRINTED INNERSLEEVE
• 4-PAGE BOOKLET WITH LYRICS AND PICTURES
• 2019 ALBUM FEATURING ELEW, ERIC HARLAND, KASSA
OVERALL AND JAMAICAN SINGER CHRONIXX
• MASTERED & MIXED BY GRAMMY AWARD WINNING
PRODUCER BOB POWER (D’ANGELO, ERYKAH BADU)
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED
COPIES ON TRANSLUCENT BLUE COLOURED VINYL

Star People Nation is a project described by Theo Croker himself as an intimate exploration of “the everyday rituals of blackness”. A translation of his personal, spiritual and creative experience, the album is a self-reflective collection of powerfully passionate and boundary-busting compositions that speak to our greater, shared human existence. The album features jazz pianist ELEW on “The Messenger”, which is a great combination of a smoky blues piano with a traditional swing rhythm, locking into the pocket and showcasing Croker’s mastery of the swing.

Star People Nation is available as a limited edition of 750 individually numbered copies on translucent blue coloured vinyl. The vinyl package includes a printed innersleeve and 4-page booklet with lyrics and pictures.

Lightning Bolt redefines what it means to be DIY. An utterly singular band in every way, unbridled creativity and energy propel them well past most categorical boundaries, least of which is the boundary between band and audience. Theirs is an immersive experience - a sound so huge it can swallow us all. Oblivion Hunter is a monster. Not a compilation, not concept album and more than the sum of its parts, the record is a peek into the band"s inner world on their home turf (the Hilarious Attic in Providence), collecting deep explorations into distortion, bass manipulation and its intersection with rhythm. A Limited release in 2012 sold out almost immediately. This first re-issue is a deluxe one coming with 4 different covers each matched with it"s own color vinyl. Re mastered by Josh Bonati, you can now immerse yourself in this pivotal Lightning Bolt album"s sonic oblivion and YOU are now the Oblivion Hunter. A cathartic listening experience, Oblivon Hunter finds blast-beats colliding with distorted vocals and all shapes and sizes of guitar noises, even some metallic riffage on the album closer and aptly named "World Wobbly Wide." Throughout, the sound is amped-up and free with an ear on the railroad tracks to the big sounds of industry and clamor. Bass sounds jump out of the speaker cones that conjure up ears in alien propulsion systems, nights in faraway wind tunnels. Experience this pivotal album in Lightning Bolt"s catalog like never before.

Lightning Bolt redefines what it means to be DIY. An utterly singular band in every way, unbridled creativity and energy propel them well past most categorical boundaries, least of which is the boundary between band and audience. Theirs is an immersive experience - a sound so huge it can swallow us all. Oblivion Hunter is a monster. Not a compilation, not concept album and more than the sum of its parts, the record is a peek into the band"s inner world on their home turf (the Hilarious Attic in Providence), collecting deep explorations into distortion, bass manipulation and its intersection with rhythm. A Limited release in 2012 sold out almost immediately. This first re-issue is a deluxe one coming with 4 different covers each matched with it"s own color vinyl. Re mastered by Josh Bonati, you can now immerse yourself in this pivotal Lightning Bolt album"s sonic oblivion and YOU are now the Oblivion Hunter. A cathartic listening experience, Oblivon Hunter finds blast-beats colliding with distorted vocals and all shapes and sizes of guitar noises, even some metallic riffage on the album closer and aptly named "World Wobbly Wide." Throughout, the sound is amped-up and free with an ear on the railroad tracks to the big sounds of industry and clamor. Bass sounds jump out of the speaker cones that conjure up ears in alien propulsion systems, nights in faraway wind tunnels. Experience this pivotal album in Lightning Bolt"s catalog like never before.

Pelican"s debut album Australasia, originally released in late 2003 by Hydra Head Records, is a landmark record in the shifting tides of heavy music that took place at the turn of the millennium. 20 years since its release and several sold out represses, Australasia is a proven essential for any listener exploring the bounds of rock music. Now issued as a deluxe double LP edition of the , newly remastered for vinyl and complete with 3 never-before-released bonus Songs , including a remix by James Plotkin and digital downloads of early Pelican live recordings. Artwork by ISIS and Sumac founder Aaron Turner. Following the release of the band"s auspicious self-titled EP, Australasia"s singular integration of melodic complexity and tremendous density redefined conceptions of what constituted "heavy." Pelican"s unique manipulation of atmosphere and dynamics seamlessly alchemized their disparate influences beyond metal into music grand, mercurial and utterly sublime, worthy of the album"s namesake. Billowing clouds of strange serenity give way to tectonic riffs. Hypnotic rhythms chug at the precipice between doom and euphoria. Guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec twirl soaring harmonies around the roaring thunder of bassist Bryan Herwig and drummer Larry Herwig. Throughout the album, the quartet move as one like a glacier, awesome and forever imbuing the landscape with their mark. Australasia stands as a pioneering work, unmatched in the level of unbridled beauty and devastation Pelican wields across the album.

In the musical universe of the Brazilian singer-songwriter Raphael Gimenes, wild landscapes are metaphors for unspoken feelings. The Copenhagen-based artist writes hauntingly visual, and poetically surrealistic stories, in which he can be hunted by sun-kissing jaguars, chased by thirsty horizons, become a kaleidoscope of butterflies, or turn into dream-singing birds. His 2016 debut album, "Raphael Gimenes & As Montanhas de Som", was elected the best Brazilian album of 2016 by the Dutch website Written in Music, received 5 stars on Jazzism, and was hailed as a "conceptual masterpiece" by the Japanese magazine Latina. His sophomore release, "A tongue full of suns", is co-produced by the Faroese singer-songwriter Teitur, who also features on synths. On this new album, Gimenes explores his non-Brazilian influences and his life outside of Brazil. The songs are sung in English, a language that he learned when he lived in the United States as a boy. The lyrics are inspired by the mountainous landscapes of Jotunheimen, Norway, where he goes trekking on a yearly basis. The production and the arrangements draw heavily on sounds he heard on vintage European prog rock bands, particularly Yes and PFM. The music itself does not stray far from the universe of his debut album, but the songs do take more symphonic, progressive forms, while the Brazilian rhythms are substituted by the more meditative, minimalistic tabla played by the German musician Jan Kadereit. "A tongue full of suns" also features two guitar virtuosos from Argentina and the Netherlands: Matias Arriazu and Tim Panman. The fictitious story behind the concept album is presented as a poetic short text written by Gimenes himself: "These are the last songs written by The Painter, a broken-hearted sorcerer who disappeared on a journey of self-discovery in the vast canvas of the great wild. They were found floating above the silence of an ageless rock, in a valley of slumbering glaciers. It is said that on his odyssey, he learned the hypnotic dialects of the trees, and deciphered the translucent poetry of the moon; that he unearthed ancient vestiges of rhymeless metaphors, and mastered the alchemy of cosmic verbs. It is believed that The Painter could enter the memories of rivers, interpret the dreams of birds, and that his sun-gilded tongue carried melodies that filled entire horizons. Legend says that he is now a wanderer of the infinite; a sacred secret, revealed only by the colors of the solstice alpenglow on inaccessible, rugged peaks."

Jdotbalance is a Chicanx producer from Texas currently based in Chicago. They run the GUD4U newsletter, party and mix series and have been featured for mixes on DAISYCHAIN, BIZAAR BAZAAR, PAPI JUICE, JEROME, RUMORS, and NEW WORLD DYSORDER. Here they are with a backboard smashing vinyl debut dunk full of a futuristic mix of sexy, raucous club and fast techno propulsions that showcases just how varied the energy palette of North American club music is.

“Let’s” opens up the A side with a fast techno kick and panned static flickers. Wonky pings wander left and right. This track is a true traveler…start to finish this will have the dancefloor wishing this condensed fantasy epic, inexhaustibly traversing moods and instruments, would swallow up the club and continue the stomping ride down down down the devil’s gut. A2 has a different boom but the same amount of bump. Claps dance around the 2s and 4s, showing you how to move to Jdot’s vision of gyrating, high-energy club music. A vocal sample swells like a siren. The kick moves in triplets. The peak is psycho. The track comes down just in time to pick its energy back up with big bass melodies that take it to a sonar underwater close.

Flip to the B side. “Wilin’” brings the club kicks and undulating melody that floats on top together in rhythm. Interesting rhythmic changes make you rethink your body. One can hear shimmers of the UK wobbling in to snuggle up with the ever-evolving contemporary US club landscape. “Whippit” closes out the whole shabang with a spinning, up-tempo jaunt that packs a dense punch, all bringing home the point that Jdotbalance is not messing around. CAUTION! HIGHLY FLAMMABLE TRACKS!

Collins Dictionary Example sentence: „Other ocular signs include involuntary rhythmic movement of the eyeball.“ Someone in the editorial department wasn‘t paying attention and involuntarily spoke a deeply buried truth: The movement from the eye to rhythm and from there to sound is sometimes a small, puny one.

Now Infuso Giallo provides the proof at the same time and implements his live show for last year‘s debut album „Ocular Soda“ as an audio-visual show, as intertwined senses. Visible sound, audible images. Such ideas only last when they are put to the test and scrutinised by several experts.

The duo Globus, which consists of 2/5 of the post-hardcore band PTTRNS, examines the synth hook of the second part of the double-opener „Every Waking Hour Pt.2“ by playing it, varying it, letting it sway.

In contrast, Anatolian Weapons from Athens can‘t help but immerse the ambient, Soft Machine-production-like first minutes of „Every Waking Hour Pt.1“ in a sinister black light. Staggering into a basement club filled with nocturnal shadow people and indulge in carousing. Cautiously at first, then more and more determinedly.

From Hamburg and Berlin, the „Mole Gaze“ gets a special treatment. The trio Love-Songs drags the number off to Hamburg harbour, packs it onto a steamer, deep into the bow and lets it operate the sonar there. Conrad Schnitzler would have been delighted.
Infuso Giallo, meanwhile, realises that there is nothing more boring than standing still, so he revamps „Hello World“ and gives it a rear spoiler that keeps this number in lane even at club speed.
Speaking of „keeping in lane“: Niklas Wandt, the magician, doesn‘t even try such tricks. He simply throws an acid bolt on the closer „Ocular Soda“ and waits to see what happens. Alongside breakbeats from nowhere, Albert Hoffmann himself appears on a bicycle.
„Ocular Soda Remixes“ is the first tape on the Kame House label, so there‘s only one thing to do: open your eyes and listen!

As the 1970's turned into the 1980's Reggae's beat took another turn,slowing down to allow more space for the music to breathe.
The new sound became Reggae's focus and the Roots Radics one of Jamaica's finest session/backing bands were at the forefront of this radical change.
The Roots Radics were based around the nucleus of Errol'Flabba'Holt(bass),Lincoln Valentine 'Style' Scott(drums) and Eric 'Bingi Bunny'Lamont(guitar).
Holt and Bingi Bunny had previously been involved in the Morwells label set up and had cut some popular tunes such as 'Swine and Dine','They Hold Us Down' and the great 'Kingston Twelve Tuffy'.
Before this Bunny had played for one of the other great Reggae sessions band the Channel One based Revolutionaires.
It was the demise of this legendary band due to Sly and Robbie's commitments to their own Taxi label that led to the formation of the Roots Radics.
The Radics have worked with many different producers over the years including Linval Thompson with the series of alums 'Space Invaders Destroy the World' and 'Win the World Cup'.They also worked as Gregory Isaacs backing band and were responsible for the rhythms that made up his seminal 'Night Nurse' set.
We have caught the Roots Radics for this set cutting rhythms in their favourite environment the famous Channel One Studios.
On this occasion working with producer Ossie Thomasfor his own Black Solidarity label,a match made in Heaven...Enjoy..

Tapper Zukie after taking a little time out of the musical arena has come back with an album full of great material and has called in an A list of fellow Jamaican artists to add flavour to this great set. As Tapper named the album himself ‘Bunker Buster’ it shows Mr Zukie busting back out of the studio and back in the arena in fine style.

The opening track finds his long-standing working partner Horace Andy adding his distinctive vocal style to ‘Aquarius’. ‘Nuh Fraid A Dem’ features the great Luciano, ‘The Blessings’ the mighty Michael Rose, and Little Roy adds some magical rhymes to ‘Wicked’. The soulful voice of Beres Hammond sweetens the effects of `Stress’. The killer title track `Buster Bunker’ is backed up by the Musical Intimidators and Tapper has reworked his ‘Good Luck My Friend’ track to ‘Lucky Friend’ which features the timeless backing vocals by the legendary Jamaican vocal group The Tamlins. Digging even deeper into his back catalogue he has also pulled up some classic rhythms and more existing vocals to rework over. For example, ‘The Light In Me’ features the greatly missed Ronnie Davis. Junior Rass adds his mighty roar to ‘Humble Lion’ and Junior Reid leads the charge on ‘Warrior’. Half Pint adds a musical layer to Flesh and Blood. All in all a great selection of musical ideas that also features the cream of Jamaica’s musicians, Sly Dunbar and Robbie Shakespeare, Flabba Holt, Chinna Smith to name but a few. Tapper’s son Noel Barnes (AKA Brand New) alongside Pam Hall adds some gloss to the CD edition of this release.

Such is his standing in the reggae community that a call out to Jamaica’s finest set of singers and their eager reply to add their talents has made this an album not to be missed and can sit proudly alongside and find a place in his already prodigious catalogue.

Hope you enjoy the set…….

MEMBERS ONLY is back with another slab of heavy-psychedelic-cut-up-tribal- disco-funk-madness. The relentless tribal rhythms and chanting of standout "JOURNEY INTO UR FEELINGS" feel deeply ceremonial before eventually giving way to hands-in-the-air disco euphoria. 4 tracks. Not to be missed, Seriously.

The latest release on Livity Sound features an extensive insight into the work of Seb Uncles, aka Eusebeia. Uncles has been releasing his work prolifically over the past six years, from self-released tapes on Rebellion Electronics through to reams of 12”s and LPs for labels like Earthtrax, Western Lore, Rupture London and re:st. While his sound has often tilted towards drum & bass and jungle, he places atmosphere and composition ahead of genre boundaries and tempo restrictions.

Cosmos EP finds Uncles stretching out over eight varied tracks for a broader experience compared to the usual Livity EP. Glacial ambience and richly layered synthesis guides the record overall, at times leaving drums behind altogether, but even at its mellowest you can sense the overbearing bias towards soundsystem music. The melancholic electronica of ‘Becoming’ gets underpinned by dread bass, and ‘Solace’ places a haunting steppas-esque refrain in the midst of heavily dubbed downtempo. When he does turn to full-tilt drumfunk edits on the likes of ‘Hopes & Dreams’ and ‘Love + Light’, he approaches them with subtlety and finesse, matching rhythmic flair with melodic progressions which lend themselves to introspective listening as much as full dancefloor immersion.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Isoviha was recorded four years ago, inspired by ideas that Sasu Ripatti (aka Vladislav Delay) had been reflecting on for a long time. This album is a counterpart to his two Rakka albums which were a personal reflection on the nature and sound-world of the northern Arctic wilderness, 1000 kilometres north of where he lives on the Finnish island of Hailuoto. It's an area he loves to explore, trekking out alone to enjoy its rugged power. However the sound world of Isoviha is a return to man-made civilization. Musically Isoviha presents a more complicated world than Rakka; overloaded and unpredictable, audio archaeology that layers and juxtaposes everyday sounds into intense sculptures of noise and drone. As a musical observation internally and externally, it's influenced by the heightened anxious intensity Sasu feels when returning from the empty wilderness. The ratcheting up of urban noise on Isoviha is built with insistent loops that seem to malfunction the faster they spiral and the dangerous overwhelming potential of ordinary objects and events: shimmering, hammering, crowds, radio distortion, ancient backfiring engines. It's hypermodern musique concrète, married to a jazz drummer's intuitive sense of rhythm. Going back even further in time but still tethered to the local, Isoviha also means 'the great wrath' and refers to a time in Finland under Russian occupation in the 1700s. A time when all the Islanders of Hailuoto were killed, apart from a single couple who were left to bury the dead. As if time is non-linear, the response to toxicity and madness that drives the album feels even more appropriate now than when it was written four years ago and confirmation that the horrors of the past still darken the present.

Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love Warner Records, on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”

“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.

We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante

On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.

Unlimited Love resumes a three-decade partnership with Rick Rubin Johnny Cash, Adele. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik 1991, Californication 1999, By The Way 2002, and Stadium Arcadium 2006.

The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.

This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

As Spacemoth's Maryam Qudus was hard at work in her recording studio, synthesizers piled high, she found her mind in another place, hypnotized by the questions swirling inside her: “How could I ever face this world alone?” she wondered. “How long will I be able to stay in this place that I love?” Attempting to understand her position in the universe, the relationships that hold her together, and the climate crisis unfolding around her, she realized ruminating over these concerns was paradoxically taking her away from precious experiences. No Past No Future is the reckoning point between nostalgia and nihilism: the struggle to hang on to a moment as it warps in time.

Devotion to music has driven Qudus—a performer, composer, and producer based in the Bay Area—for as long as she can remember. At age twelve, she traded chores for guitar lessons; at sixteen, she took on after school jobs to pay for voice lessons. As a first-generation Afghan-American child of working-class immigrant parents, finding a place in music has been nothing short of a challenge for Qudus.

The bulk of performance on Spacemoth songs comes from Qudus herself, who favors vintage synths like the Yamaha CS-50 and Korg Polysix alongside fluttering tape manipulations; these create cosmic, lush soundbeds, drawing comparisons to beloved projects like Broadcast and Stereolab. On songs like “Waves Come Crashing,” a whirlwind of noise leads into darker, bass-heavy instrumentation as she confronts the inevitability of death: “These fears, they have taken our years,” she laments about the anxiety of mortality. On “Pipe and Pistol,” Qudus explores the experience of being an immigrant starting over in America. The song showcases punchy rhythms, reminiscent of Devo’s post-punk dynamism: “I see your face / my powers, they raise,” she sings with potency. Identifying cyclical habits inspired “Round In Loops,” which highlights patterns we endure in our lives and minds. “Boss is waiting / we run / love is fading / we run,” Qudus commands, encouraging escapism and a break to the cycle of mundanity.

Every track flows with Qudus’ low timbered vocals, in harmony with the watery, glowing synthesizers that anchor the album. The result is a record rich in intergalactic, avant-pop, radiating in astonishment at the vast, emotional landscape humans contain within ourselves, and in wonder at the preciousness of our time on earth.

Entspannte Grooves, zurückgelehnte Rhythmen von um und bei 80 bis 90 BPM sowie atmosphärische Klangflächen. Mit anderen Worten: der perfekte Chillout-Sound für jeden Tag.

Die Allgegenwärtigkeit des Todes inmitten des blühenden
Lebens und der Kreativität steht im Mittelpunkt von
SEVENTH STORM. Mike Gaspar, der fast 30 Jahre lang
den Rhythmus auf der wichtigsten portugiesischen
Metal-Galeere Moonspell vorgab, hat endlich ein neues
Ventil gefunden, um seine Liebe zum Heavy Metal, sein
kulturelles Erbe und seine Leidenschaft für ungezähmte,
wilde Musik zu zelebrieren, deren Wurzeln tief in das
Gewebe unserer Welt reichen. Hier hebt sich eine
hungrige Band empor, die ihre Seele für ihre Musik
gegeben hat. "Ich wollte ein Album schreiben, von dem
Fans aller Kulturen sagen können ?das ist für mich?",
meint er über den primären Antrieb, der hinter
"Maledictus" steht. "Mein Traum war es, etwas von
diesem unschuldigen Neunziger-Jahre-Touch
zurückzubringen und dabei traditionelle portugiesische
Musik mit Metal zu mischen." Mit Einflüssen, die von
Bathory über Samael, Tiamat, Paradise Lost, Fields of the
Nephilim, Cradle of Filth und Dead Can Dance bis hin zu
Van Halen oder Mötley Crüe reichen, machen sich
SEVENTH STORM gerade erst auf ihre Reise durch die
wilden und wundersamen Gewässer der Heavy
Metal-Geschichte. Und obwohl es kein Konzeptalbum ist,
wird "Maledictus" von einem starken Gefühl des
Schmerzes und der Wut zusammengehalten, gepaart mit
einer flackernden Hoffnung auf Vergebung für unser

Officially the latest album released by the british super group, »Lows & Highs« is the triumphant epilogue to these fascinating adventure in rhythm. Featuring vocals from Crucial Tony and Lizard Logan this is probably the most straight ahead reggae album in their whole discography. Producer Adrian Sherwood is in charge behind the desk while Style Scott, Eskimo Fox and Donald Campbell bring all their potential efforts on the drums. Deadly Headley and Dave’ Flash’ Wright are the top horn section here. The album features the bonus track »Read And learn« from 1982 single »Love I Can Feel«. A must have for any english dub worshipper.

Here’s Lantern Heights’ personal tribute to the one and only Michael Chapman, a hero in his own right, a ‘Fully Qualified Survivor’ (just to mention one of his most successful creations). An unreleased live album on vinyl in the form of an astonishing trio.” A live set recorded at Nottingham’s Playhouse Theatre on July 23rd 1977 by Chapman and a power house rhythm section in Lindisfarne bassist Rod Clements and former John Mayall drummer Keef Hartley. Some of his best-loved songs are showcased in “And There Were Three” – a jocular reference to Chapman’s ever-shrinking band, also known as ‘a beast with three heads’.

Tape

Die Band - bestehend aus den Mitgliedern Derek Day (Gesang), Dane Pieper (Gitarre), Griffin Tucker (Gitarre), Franco Gravante (Bass) und Chuck McKissock (Schlagzeug) - wurde 2018 gegründet, nachdem sie sich durch ihre Liebe und Leidenschaft zur Musik virtuell verbunden hatten. Jetzt sind sie in Los Angeles und haben sich auf einer Mission vereint, um der nächste große generationsbestimmende Act zu sein, der sich von klassischen Rock-Acts der 70er Jahre und Alt-Rock-Gruppen der 90er Jahre inspirieren lässt. Ihre Musik erinnert an die Markenzeichen früherer Generationen - hymnische Rhythmen, schreddernde Gitarren, erhebender Gesang - aber sie bahnt sich ihren Weg in die Zukunft mit cleveren Arrangements, scharfsinniger Musikalität und gekonntem Songwriting. Die Band hat sich in der Branche bereits einen Namen gemacht und war mit Weltklasse-Produzenten wie Bob Rock, Michael Beinhorn und Joe Chiccarrelli im Studio, die bereits Hits für Bands wie The Red Hot Chili Peppers, Metallica, Soundgarden und The White Stripes geschrieben haben.Le groupe - composé des membres Derek Day (Chant), Dane Pieper (Guitare), Griffin Tucker (Guitare), Franco Gravante (Basse), et Chuck McKissock (Batterie) - s'est initialement formé en 2018 après s'être connectés et liés virtuellement par leur amour et leur passion de la musique. Maintenant à Los Angeles, ils se sont unis pour une mission : être le prochain grand acte de définition de la génération, en s'inspirant des actes de rock classique des années 70 et des groupes de rock alternatif des années 90. Leur musique fait écho aux caractéristiques des générations précédentes - rythmes hymniques, guitares déchiquetées, voix envoûtantes - mais se fraye un chemin vers le futur grâce à des arrangements astucieux, une musicalité aiguisée et des compositions efficaces.

repressed !

Surfing on the shores of Java and Casablanca! 2 unexpected tales from the Beat generation.

Tony Turpijn and his Evergreens fulfill the dream of every pantropical music lover with a silky instrumental rhythm ’n blues take on the Sundanese love song “Es Lilin” (Ice Lolly). Link Wray meets Mulatu Astatke meets Oslan Husein in Rotterdam, 1965.

Obscure formation Les Jaguar’s de Casablanca beat the Shadows with a boss version of the surf classic “Gonzales”. The band consists of a French/Spanish guitar section and a Moroccan rhythm section featuring the eccentric drummer/percussionist Jauk Armal, the “Okay Temiz from Casablanca”. “Gonzales” is originally recorded in 1962 and released by “La Voix Du Maghreb” in Morocco on an ultra collectible EP, which is now impossible to find.

Repress 22.11.22 !

A STUNNING RHYTHMIC FUSION OF LATIN AND JAZZ WITH A UNIQUE SPIRITUAL PULSE.

If ever a record called be called a lost masterpiece then this record more than deserves that epithet. First released on an obscure French label in the 1970's it might have sunk further into obscurity and left no trace of it's passing but somehow a handful of copies turned up in various Jazz shops in London where it was snapped up by DJ Paul Murphy who was then playing to the embryonic jazz dance scene, based at the very first Jazz Room club: The Horseshoe in London's Tottenham Court Road, a decaying, seedy, sticky carpeted old West End ballroom that had seen better days. This and a select few records in a similar vein were being played to an appreciative audience who demanded tough raw percussive rhythms overlaid with some furious jazzy soloing and whenever this record hit the turntable it left even the most demanding groover sated.

It's a really fantastic collection from this barely known reedman and his excellent band which also features a guest appearance by American Legend Horace Parlan who is best known for his Afro-Cuban session "Headin' South" on Blue Note Records.

Superbly produced by drummer Peter Schmidlin, who has conjured up a spiritual modal mixdown of Afro-Cuban & Jazz extended percussive workouts that are uncompromising in their groove and which manage to sound both timeless and modern. The record is being re-released with the original striking artwork, guaranteed to be a talking point.

Millions Now Living Will Never Die is the second full-length offering from Tortoise. The majority of the material was first conceived during an idyllic 10-day retreat in Northern Vermont, where the group were able to explore their ideas in a setting that fostered introspection and inspiration: the results are clearly evident in the washes of Klangfärben (tone color) and rhythm that permeate the album. The sounds and ideas contained therein can be viewed as a logical extension of those found their first (eponymous) LP on Thrill Jockey where the group outlined an agenda exploring texture, space, and mood. MNLWND, however, offers not only an expansion of those ideas but also the introduction of several new elements into the musical equation. New instrumental textures (marimbas and other mallet percussion on "Djed" (pronounced "jed"); conventional electric guitar on "Glass Museum"; analog synthesis/sequencing and found sound on "Dear Grandma and Grandpa") and structural ideas (the extended formal procedures of "Djed"; the non-narrative song "Along the Banks of Rivers") represent clear developments and redefinition's of the group's sound.

Really cool dubbed out electronics meet Haitian folk rhythms. This is a precursor to a new album next year and follows from their Vodou Alé album released in 2020.

This new Studio collection on Soul Jazz Records delves deep into a melting pot world of reggae and funk and dub created at the music laboratory of 13 Brentford Road, Kingston in the 1970s - an intense collaboration of crack musicians, singers, DJs and engineers under the guidance of producer Clement 'Coxsone' Dodd. Here you will find some of the deepest and rawest cuts to emanate out the Studio One factory - truly hypnotic rhythms, powerful funk guitar and bass, soaring horns and more interspersed with occasional vocals and toasting as musicians reach for the highest heights and deepest roots of reggae music.

THE 1994 ALBUM REMASTERED BY ED WYNNE & RELEASED ON
CLASSIC BLACK VINYL.

One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock.

It's an open exploration of music & the soul. The band's last release to feature Merv Pepler & Joie Hinton, who left to form Eat Static, 'Arborescence' was the Ozrics' fifth studio effort in as many years. Soundscape textures remained their focus & their strength, with the now trademark Steve Hillage- esque guitar, gurgling & whirling synths & tight rhythm section all wrapped around rave, techno, African & 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) & those with an ethnic flavour ('Al- Saloog'). The powerful music here, embellished by plenty of synth dweedling & strong rhythm patterns, takes the listener of open mind & free spirit to somewhere special. Classic Ozrics then. Arborescence' will be released on classic black vinyl via Kscope.

180 gram Vinyl reissue originally released in 1983
Produced & Arranged by: Earl Morgan
Vocals: Earl Cunningham
Backing Band: The Roots Radics
Drums: Lincoln Valentine 'Style' Scott
Bass: Errol 'Flabba' Holt
Lead Guitar: Eric 'Bingy Bunny' Lamont
Rhythm Guitar: Eric 'Bingy Bunny' Lamont
Organ: Wycliffe 'Steely' Johnson
Piano: Wycliffe 'Steely' Johnson
Recorded at: Channel One Recording Studio, Kingston, Jamaica
Engineer: Anthony 'Crucial Bunny'/'Bunny Tom Tom' Graham
Voiced & Mixed at: Tubby Recording Studio, Kingston, Jamaica
Engineer: Winston 'Professor' Brown
Advertising in Black Echoes and Record Collector Magazine

"Jurassic Shift remains a creative peak." Classic RockOne of the most influential
bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal
landscapes with freeform dub trips, incredible rave grooves & psychedelic
progressive rock. It's an open exploration of music & the soul.
For over 30 years, the Ozrics have experienced the vicissitudes of the rock & roll
life. The band has flourished through several line- up changes, spawned several
side projects, created their own record label, scored a hit record & sold over a
million albums world- wide. And yet, the basic motivation behind the band's
existence has never wavered.
Their signature blend of hippy aesthetics & raver electronics with spiraling guitars,
textured waves of keyboard & midi samplers & super- groovy bass & drum
rhythms continue to delight fans across the world to this day.
'Jurassic Shift' was the fourth proper release from the band & the first album to
be recorded in their own studio The Mill. The album reached #11 in the UK
national chart when it was released in 1993.
This version of 'Jurassic Shift' features the 2020 remastering by frontman Ed
Wynne

THE OZRIC'S SEMINAL 1989 FIRST TRUE ALBUM IS BACK ON VINYL

'Pungent Effulgent', the Ozric's first 'official' album in 1989, after self- releasing material on cassettes, is the first produced to label standards & retains their explorative style based on improvisations whilst performing live. One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock. It's an open exploration of music & the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock & roll life. The band has flourished through several line- up changes, spawned several side projects, created their own record label, scored a hit record & sold over a million albums world- wide. And yet, the basic motivation behind the band's existence has never wavered.

Their signature blend of hippy aesthetics & raver electronics with spiraling guitars, textured waves of keyboard & midi samplers, & super- groovy bass & drum rhythms connect fans of progressive rock, psychedelia & DJ culture.

'Pungent Effulgent' will feature the 2020 remastering of Ed Wynne. The band's early influences from peers such as Hawkwind, Gong & Pink Floyd are evident in this transformative release.

Rebecca Goldberg wrote TROIS CENT TROIS as an auditory postcard with musings from a late-summer road trip across France in 2021. On TCT Rebecca sonically guides us through the emotion of new adventure and the risks involved during a time of global uncertainty.

The first single, TROIT CENT TROIS, is a play of the French way to say Detroit and 3-0-3. Like Rebecca's previous work on Detroit Underground, acid is the EP’s predominant sound. The next stop, A2 track Le Détroits, is an acidic metaphor for the celestial beauty of the French countryside. Face A ends with The Perception of our Power, a Ghettotech cut that's full of Detroit-funky/beloved-in-Paris bounce.

Flip to Face B and bathe in the acid arpeggiation of the lead-off track Paradoxe du Plaisir (Pleasure Paradox in English), referring to the practical difficulties encountered in the pursuit of pleasure. The destination B2 track, What It Means (To Start Over in a Ruined World), waxes poetic on the explanation with throbbing percussion and call and response rhythms.

According to Viktor Frankl in Man's Search for Meaning, "Happiness cannot be pursued; it must ensued and it only does so as the unintended side effect of one's personal dedication to a cause greater than oneself or as the by-product of one's surrender to a person other than oneself."

TROIS CENT TROIS was featured on Bandcamp’s “New and Notable” releases list and was highly regarded in The Wire magazine.

For the vinyl release, Rebecca designed a minimal black and white package with slanted black text reminiscent of France's directional local road signs. The vinyl is limited to 303 copies and each one is hand-signed and numbered.

Utter presents the second full-length album by enigmatic duo Vādin - a collaboration between sound artists and performers Christian Duka and Lucie Štepánková (aka Avsluta). “Black Tortoise” is a voyage accompanied by the uncanny, the shadow-dwelling specters and arcane symbolism derived from ancient Chinese astronomy.

“Astrologia” opens the album with an eerie torrent of droning voices and glassy, percussive interventions, leading into the patiently unfolding opening of the “The Presence” with it’s ominous narrative riding the swelling, thunderous rhythms culminating in swarms of hallucinatory chaos. The doom of “Calliope” follows, infused with cavernous, beastly vocalisations which lure the listener into “The Furnace”, a drowsy kaleidoscope of rhythms weaved together with Štepánková’s mother-tongue narration. And further on still, into the make-believe world conjured up by the buzzing and swarming objects overheard on “Plateau”.

Available on limited vinyl and digital formats. A special fold-out pamphlet is included with physical copies.

Spoken word by Lucie Štepánková. Mixed at SAE Institute by Christian Duka and mastered by Rashad Becker at Clunk. Transferred and cut by Helmut Erler at D&M.

Artwork designed by Marco Maldarella.

John Ondolo spent his life traveling between Tanzania, where he was born, and Kenya, where he recorded a string of singles for independent labels in the late 1950s and early 60s. Unlike most guitarists from the region, Ondolo used open tuning (a favorite of American blues guitarists), creating a hypnotic drone over which he laid down endless rhythmic variations on his main themes. Inspired by the exploding pop music scene in Nairobi, the newest rock and roll imports from the US, and the Abakuria tribal music of his youth, Ondolo transposed traditional instruments and rhythms to his guitar, playing it more like a traditional harp at times, and inventing a sound totally unique in the recorded history of African guitar. This album brings together John Ondolo's rare early 78rpm recordings in the first-ever overview of this innovative but overlooked artist. The music traces Ondolo's creative output, from the resonant acoustic guitar masterpiece Tumshukuru Mungu to the relentless guitar and flute (!) interplay of Kenya Style to his later electric guitar, bass, and drum recordings with the Jolly Trio, all tied together by Ondolo's unique rhythmic sense and vocal style. The breadth and variety of Ondolo's recordings may be a result of his sporadic recording history. Unlike more famous artists, Ondolo wasn't sucked into the Nairobi nightlife scene of the early 60s, instead traveling from his farm in the foothills of Kilimanjaro on occasion to record. An outsider and devout Catholic whose music was sometimes at odds with the style of the times, he later left music entirely, shifting to film and driving a mobile cinema van for the Tanzanian government, introducing socialist and Pan-African films to the countryside. An accident in his mobile cinema led to the loss of his left arm, though he continued his travels. He died in 2008 in Dar Es Salaam, leaving behind two wives and 11 children. Over a decade in the works, Hypnotic Guitar of_ includes an insert with lyrics and translations, as well as notes by Tanzanian musician and historian John Kitime. Expertly restored and mastered by Michael Keiffer and pressed on 160gm black vinyl at Smashed Plastic in Chicago. Licensed from the Ondolo family in Tanzania.

The Belgians pimp their fourth album's psychedelic pop with disco funk and there fore groove somewhere between TAME IMPALA and PARCELS.On Movements, the Brussels-based rock quintet Great Mountain Fire lavishly enriches its infectious indie-pop songs with soul grooves. The lively sound and dexterous ensemble dance away our inarticulate sense of disquiet. The laidback funky rhythms, often combined with playful falsetto voices, bring out the dextrous ensemble as much as possible. The band discovered Sly & the Family Stone, Larry Graham. the afro rhythms David Byrne famously tried to embrace in his works, Marvin Gaye and "Strawberry Letter 23", a 1971 song by soul singer Shuggie Otis. Still it's an indie-guitar vibe that's ride GREAT MOUNTAIN FIRE.

Acid Jazz Group Label Countdown Records is proud to present 'Shake A Tail Feather' - a Vinyl/CD collection from Fast Eddie, one of the early '80s most exhilarating live groups, and a favourite of the Rhythm and Soul powered Mod scene of 1980s. Initially called 'The Investigators', Fast Eddie emerged from Billericay in the wake of Thames Delta Blues pioneers, Dr. Feelgood. Having gained a following playing the raw R&B of the Pub Rock circuit, the band diversified their sound to incorporate classic soul repertoire, alongside their own material, which is documented throughout this collection.

Significantly, the group was also managed and produced by a certain young Eddie Piller - our founder - in his first foray as a music Mogul. Consequently, this collection marks an important document in the formation of Well Suspect Records, Countdown Records and the wider Acid Jazz Story. The LP contains a sharp selection of 16 tracks from their recordings, while the CD and digital version extends this with 4 extra tracks. Their storming versions of 'Shake A Tail Feather' and 'Out Of Sight', show their love of classic club soul, while 'Help Me' and 'My Babe' prove that they could play the blues with plenty of rhythm and feeling.

For Fans Of… Dr. John, Allen Toussaint, The Faces, Joe Cocker, Leon Russell, Buddy Miles, The Meters, Father John Misty. "I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living - consumed by drugs, alcohol, and addiction - such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood - his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP - and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far." After playing his first live show in November 2018, Francis was signed by veteran agents Joshua Knight and Phil Egenthal of Paradigm Talent Agency. 2019 brought a North American tour supporting Australian band The Cat Empire as well as radio play on KEXP, KCRW's The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band performed at festivals such as Summer Camp and the New Orleans Jazz & Heritage Festival and shared the stage with The Meters and Lee Fields & The Expressions. Francis continues to tour relentlessly to promote his own music. "I'm doing this to fulfill a drive within myself, but also to pay tribute to the gifts I've been given. And it comes from a place of immense gratitude. I've been given so much in my life, especially in the last two years, that this feels like a bonus." Also Available From Neal Francis: These Are The Days 7”.

New label Golden Ape Records kick off their journey with some raw Electro-Funk chic from the Funk Messiahs with their brilliant debut single, 'Save Me' Vocalist Lucy (Veeresh's Humaniversity Sound), whose deep sultry understated vocals soothe the soul; the amazing Pest trio (Ninja Tune) of Matt on guitar, Vinny on sticks and Tom on Trombone to provide the rhythm and driving funk. Super talented Kitty (Kitty, Daisy & Lewis) moving booties with the bass, and A-Lo adding Electro vibes with his vintage synths. Remixes from Crazy P's Jim Baron, who delivers a seductive percussive Disco vibe under his Ron Basejam moniker; 'Dark Wobble' (aka Michel Williams), who injects some Scouse street style flavas; and Ben Pest amps up the electro filth with a gritty electronic outing.