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LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

Renowned agent and jazz pioneer Wim Wigt founded Timeless Records in 1975. This Dutch record label has specialized in bebop, although it also did a sub-series of releases of Dixieland, Swing and Classical recordings. As of today, Timeless Records has, together with its three sub-labels, released over 900 albums. Notable releases include Dizzy Gillespie Meets Phil Woods Quintet, McCoy Tyner's Bon Voyage, Lou Donaldson's Forgotten Man, Eastern Rebellion and albums by the George Adams-Don Pullen Quartet, Chet Baker, Bill Evans, Art Blakey's Jazz Messengers and many more.

To celebrate the legacy of Wim Wigt's Timeless Records, Music On Vinyl is releasing a 45th anniversary jazz series. The series features albums that are part of the Timeless Records legacy and will be released throughout 2021/2022. To kick off this series, Pharoah Sanders' Africa is released on the 19th of November 2021.

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz, which has earned him royal status amongst free jazz players, critics and collectors. Harmonically rich and heavy with overtones, his sound can be as raw and abrasive as it is possible for a saxophonist to produce. His 1987 album Africa is soulful but also searching for a strong groove at the same time. The album is recorded with John Hicks, Curtis Lundy and Idris Muhammad and was an explicit tribute to his late mentor John Coltrane, another giant of jazz.

Africa by Pharoah Sanders is available on black vinyl. The album includes an insert with upcoming Timeless Records titles from the Timeless Records 45th Anniversary Jazz series. The sleeve contains liner notes by Kevin Whitehead.

Chrome dishes up two servings of heavy Hip Hop instrumentals. The A side track ‘Don’t stop, get it’ kicks off with the familiar reggae sample from Stranger Cole’s ‘Crying every night’ (made famous by Reflection Eternal’s classic ‘Fortified live’), and proceeds to kick in with heavyweight drums and vocal cuts a plenty! The B side unearths a Funkadelic track from ‘Let’s take it to the stage’ and brings it to life with some disco lead drums from the Atmosphere classic ‘Dancing in outer space’ and links them up with the Funky ‘Sesame street’ drum break from Blowfly.

Both tracks are pounding dance floor bangers!

Taken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project. This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars. Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience. musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023. Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.

Sometime in 1984, San Diego native Anthony "Antone" Williams found himself sitting alone at Pure Sound Studios, tinkering around with a drum machine. Eventually he landed on a "sinister groove" which would lay the propulsive foundation for his hauntingly melodic tour de force, "Windows of My Mind." Released the following year as a seven-inch single on his own Unity Records label, the song features Antone's otherworldly production. Some have referred to the result as "post punk soul," but we'll let you be the judge.

Coming up in San Diego in the Seventies, part of an extensive musical family, Antone's creative fuse was lit by the sounds of Stevie Wonder, Earth Wind & Fire, and the Jackson 5.. At the age of 13, he was performing in area clubs, making a name for himself. By age 22, he had opened his own recording studio, Pure Sound. The influence of Sly and the Family Stone was decisive for Antone, who took to wearing a star-shaped gold necklace, not unlike the one famously worn by Stone on his epochal 1975 LP High on You.

"Windows of My Mind" was Antone & The Underworld's sole release. Limited to 500 copies and handed out as a promotional tool for a purported album of the same name, the single didn't get much traction. (A story as old as time.) Perhaps the music was ahead of its time and Antone's visionary message will finally sink in 2023. "I didn't want to make a song like Shake Your Booty", he says now. And yet we think that this long-lost record with its "sinister groove" is eminently danceable, almost 40 years later. We challenge you to take a listen to this home-grown 1985 7", remastered directly from the original tape, and make an assessment of your own.

Companion piece to O Morto's album »Dans la Gorge d'un Monstre«. The diaristic approach goes deeper where field recordings and fragments of memory take center stage , O Morto expands his LP masterpiece to a very direct and free-flowing tape. Also based on a number of field recordings taken during a life-changing trip to Morocco that felt like a fever dream, ‘Iffrits Habitent‘ is the perfect companion piece with a more impressionistic and unadulterated account of the same travel that could well be this side of the mirror. Then again, maybe he never made it from the other side. Who’s to know?

Am 4. November veröffentlicht PJ Harvey eine Sammlung von B-Seiten, Demos und Raritäten.

Die Sammlung beinhaltet 59 Tracks der letzten drei Jahre und wurde von Jason Mitchell zusammen mit dem langjährigen Produzenten von PJ Harvey neu gemastered. Zusätzlich enthält die Sammlung 14 zuvor unveröffentlichte Songs und gibt Fans die Möglichkeit, die bereits veröffentlichten Songs erneut zu genießen.

Zudem zeigt das Artwork bisher unveröffentlichte Archivfotos.

Diese Sammlung ist als 3CD und LP Box Set erhältlich.

Detroit's Rebecca Goldberg, aka 313 Acid Queen, releases 5 techno bangers incl. Mark Broom remix on Phoq U.

Phoq U Phonogrammen, the rebellious U-TRAX sublabel, returns after 26 years with its eight release, produced and manufactured in Detroit. Detroit native Rebecca Goldberg, who has previously released music and performed live under her 313 Acid Queen alias, will present her brand new People Mover EP at the Detroit Movement festival, on May 26, 2023.

The EP features 5 dancefloor fillers, including the Detroit-style remix by Mark Broom of the opening track Automated. The EP is inspired by transportation, industry and travel, as well as the city of Detroit of course, paying homage to the original minimal techno music and the evolution of technology and industry.

All tracks are live jams, recorded in one take on all hardware instruments. Rebecca tries to do as little post-work as possible, with just a little bit of final arrangement. Her work often incorporates field recorded sounds, and for this EP she used samples recorded while riding on the Detroit People Mover itself, the elevated automated light rail system in downtown Detroit. Goldberg started a sound walk group called Detroit Frequency and the recordings were taken on during the first event last summer.

The EP kicks off with the fast-paced Automated, that echoes the hypnotic minimal techno sound of Robert Hood. Mark Broom added an extra dose of 909 funk in his Mark Broom remix, which provides the track with even more pumping rhythms and making it sound even more 'classic Detroit'.

The B-side opens with Elevated, that features industrial-ish DPM sounds on a bed of pure acid, as if Goldberg wants us to remember why she is named the 313 Acid Queen.
Staying On meanwhile, puts a repeating DPM announcer's voice central stage, making it a fascinating piece of minimal techno. The closing track Linear Motion creates a dark atmosphere, with eerie, down-pitched DPM sounds that makes this a spooky techno trip that we believe many people will love.

Original release date: May 5, 1980

An album made by Kim Chang-wan in place of his two younger brothers who were serving in the military, together with the project ‘Broken Spaceship’ composed of session musicians such as Park Dong-ryul (bass), Yu Ji-yeon (acoustic guitar, harmonica), and Kim Yeong-guk (drums). It is the same work as the beginning of Kim Chang-wan's 'Sanullim Alone', and the energetic rock sound and lyrical folk coexist in harmony.

Including Red Balloon with an attractive psychedelic fuzz tone guitar and Please Wait A Little Longer funky, as well as Long Lost Memories Will Come To My Mind Vaguely Through The Window, Still Life with Sunflowers, and A Teacup, Sanullim's best works of the mid-year period It contains beautiful songs that are faint, cozy, and beautiful.

Malmo-based producer Sacred Grove takes care of the second release of French label Parodia.

Taking his name from an important feature of mythological landscapes, Sacred grove music is like a hole in our dimension, a moment of levitation where everything stops for a minute.
« Through the Mire » is a fantastic 4 track EP of untouchable, fascinating sounds of dance music, taking influences in early deep house and twisting it in a very unique way.

Enter the trip with the EP opener « Dusk » , a mysterious track full of hazy pads and stabs blending together to make you enter into an imaginary forest. Subtle and classy, « Dawn » is the second track of the record, 9 minutes of introspective sounds yet dancable, with an unstoppable groove. If you're not already tripping, your mind is a about to hallucinate with the third track Neusea (Delay mix), the most impactful track of the record, with a laidback peak time roller keeping the same cinematic atmosphere as the other tracks.

Last but not least, B2 track « Loverz » is like reaching the Sacred Grove that you were looking for when you entered this forest, and finally your mind is going in a total trance.

Holly Johnson is proud to present a 35th anniversary reissue of his 1989 number one debut solo album.

Blast will be available on limited edition red vinyl (Pressing of 1500 copies worldwide), and even more limited red cassette, the cassette will come packed in a signed card wallet.

Here’s what Holly calls "Blast in a Nutshell” - "My exploding red hot vinyl, from the fag end of the nineteen eighties. It's not purple, but it's mine all mine. Thirty five years in the same house, the vibes are still here. Still alive in 2023.”\

Prepare to blast off once more.

Repress!

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

"Almost two years after the multi-charted and heavily played 'Player's Paradise' EP, Lex returns to B2 Recordings, marking the milestone 10th release for Bengoa's rising Athens - based imprint.

The Greek artist has had quite a joyride since then, with releases on Delusions Of Grandeur, Samosa Records and his debut LP on Leng, which brought worldwide attention. Here we see him deliver his latest work, 'Fast Jags' - an unmistakable piece of his trademark nu-disco-meets-house excellence. Popping organic percussion, shaking funk-infused bass lines and an amalgamation of wandering trippy synthesisers and cinematic strings.

For this anniversary release, B2 Recordings could have no other than the man of the moment, prolific DJ and producer Felipe Gordon on remix duties! The highly acclaimed Colombian musician delivers an outstanding ten-minute journey into deep, funk & heart warming house music, playing along with jazz-tinged bass lines and intricately intertwined keys, strings and synth licks.

Rounding things up, label-head Bengoa adds a bit of rawness to the original, effectively bringing up natural percussion and trippy synth stabs, creating a club-ready house roller that you never want to end.

A perfect package for the anniversary tenth release by B2 Recordings.

For the last twenty years, Sami Yenigun has DJed, thrown parties, released records and built community in Washington DC. He lived in and helped produce the underground event space Subterranean A. He's a co-founder of the DC mega party ROAM. He started the label 1432 R alongside Joyce Lim and Dawit Eklund. He's made music for Future Times, World Building, Rhythm Section, and Ghostly International. He’s produced for Dreamcastmoe and jammed with the Lifted crew.

Sami's also an award-winning journalist and Executive Producer of the largest afternoon news broadcast in radio, All Things Considered. He's won a Peabody, a Murrow, A World Press Photo Award and a National Press Club Award for his work, which includes creating a show with the legendary DJs Stretch and Bobbito, serving as editor of NPR's podcast about race, Code Switch, and covering elections, epidemics, insurrections, and of course, music.

It’s a lot, but whether finding a flute that fits, an extra battery for his Marantz, or the energy to make beats after a week of telling stories, Sami's enthusiasm for life, and the people in it, make it work.

The latest record, Elevate, is a testament to that enthusiasm. Four tracks that crackle and pulse with the same electricity that runs through all of what he makes. Just as Sami's interests in his personal and professional life are ranging, so are his tastes for club fare, and you can hear it on this release.

Four views of mother nature: a forest and a mountain range; a wicked city and a well. Traced from house and techno, through a lens and back.

It's a body of work that continues to branch and build. Elevate is a step into Sami's next chapter: Where flutes, stories, queerness and truth curve together.

One unrealesed long tune on A-side, with a Sample taken out from Cavage records... (everything happens...) And, B-side 2 repressed (and remastered) tunes from FKY, coming from the Electro Lab Factory albumm W33dbass. Enjoy !

Coming as the fourth edition, 'EP4' stays true to the series, committing Defected's biggest digital releases to wax, and delivering upfront packages of house heat previously unavailable on vinyl. Opening up the A-side is garage legend and Grammy Award winner Todd Edwards with 'You're Sorry', where his chopped-up vocal sampling, pitch shifts, and kick drums combine to create a track with true groove. Up next is underground gem 'Space & Time' (Extended Vocal Mix) from Dario D'Attis featuring Jinadu, a record that presents grooving house excellence. The B-side continues to deliver the goods, opening with Low Steppa's Defected debut, 'You're My Life', a guaranteed summer weapon for 2019. Rounding off the vinyl release is Austin Millz 'Broke Boy', where the Harlem born artist showcases his genre defying style, with vocals provided by Claire Ridgley, making a reflective and serene closure to this release.

The sixth edition of Defected’s vinyl series continues to commit the labels’ biggest digital releases to wax, delivering upfront packages of house heat previously unavailable on vinyl. Kicking off the A-Side is Ferreck Dawn’s solo Defected debut ‘You Are The One’, a self-assured club track featuring a cut-up sample from Jocelyn Brown’s timeless classic ‘Somebody Else’s Guy’. Up next is Qubiko’s ‘U R’, a bumping, grooving dancefloor cut from the Italian DJ. On the B-Side Todd Edwards & Sinden storm in with their UKG influenced ‘Deeper’, featuring chopped-up vocal sampling, time shifts and kick drums. The release is rounded off with Alaia & Gallo’s ‘Trippin’’, with an irresistible deep and driving bassline, the gospel vocal trio Dames Brown lend their soulful tones to cover the Y2K classic ‘It’s Love’ by Jill Scott.