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Skepta and fellow BBK member Jammer launch house label Más Tiempo, with the pair collaborating for the debut EP ‘Mas Murder’

The release sees the Mercury Prize-winning MC, songwriter, and producer showcase his house sounds ahead of the label launch party at London’s KOKO on 30th April 2023.

Skepta, the influential Mercury Prize-winning MC, producer, designer, director, and founding member of seminal British grime collective Boy Better Know, unveils his new label Más Tiempo on 28th April alongside instrumental LOTM founder and BBK mainstay Jammer, as the pair launch the house-centric project with their ‘Mas Murder’ EP.

Featuring London talents J Kolo and Ossie (Club Bad/Madhouse), the debut EP showcases a first glimpse of the musical direction of the label, with the imprint set to provide a platform for producers to ‘expand their current portfolio range’ - with Skepta building on his iconic DC10 debut for Circoloco last summer, plus forthcoming appearances in Milan, Ibiza and more.

“‘This generation rules the nation, with version’... that really resonated with us for the Más Tiempo journey. Musical Youth sampled on ‘Mas Murder’ was perfect to showcase the way we feel about giving people our spin on house production with instrumentals while paying homage to the ones that came before us.” - Jammer.

Collaborating on the lead cut, Skepta and Jammer’s ‘Mas Murder’ is a low-slung, heady house cut shaped for bustling terraces and built for clubs, fusing crisp percussion, a snaking bassline and eerie melodies for a heads-down effort. Handing over to Jammer, who links up with J Kolo and Ossie, ‘Touch Me’ draws from UK house influences for a skippy, slinking production.

Alongside the EP, Más Tiempo will also take over legendary London venue KOKO on 30th April, with the event being the first standalone show for the collective, having collaborated with The Martinez Brothers and Cuttin Headz at The Beams in December. Featuring performances from Benji B and DJ Maximum alongside sets from both label heads, the show will see Skepta return to the venue for the first time since 2016 following the release of his critically acclaimed LP ‘Konnichiwa’.

Freestyle Records are proud to reissue Ambiance II Fusion's mid-80s fusion rarity "Come Touch Tomorrow" - originally recorded in Hollywood CA October/November 1984 and released in 1985.

Following a yearly run of 4 albums self-released between 1979 and 1982, Nigerian-born saxophonist, flutist, and clarinettist Daoud Abubakar Balewa then took a few years off before returning with 1985's "Come Touch Tomorrow", the first of two albums issued under the updated name of Ambiance II Fusion. Combining the afro-spiritual jazz & be-bop inflected fusion of his earlier work as Ambiance, this record took the project into more modern & distinctly cosmic planes with the introduction of spacey pads and drum machines working alongside somewhat tighter arrangements and solid rhythm sectons. Of particular note here is the B1 track "Boy What a Joy" on which a sublimely funky synth & drum machine throwdown is presented in prophetically lo-fi fashion - recalling recent stylistic approaches from the likes of Dâm-Funk among others.

Participating Musicians:

"AMBIANCE II FUSION"

Stanley Dominguez - Guitars

Dr. Isacc Ford - Drums/Electric Drums

Ralph Rodriguez - Percussion

Juliian Breeton - Bass

Jardin Wilson - Bass

Lee Williams - Keyboards/Syntheziers

Daoud Abubakar Balewa - Alto & Tenor Saxophone/Percussion

Larry Dominguez - Alto Saxophone

Suzanne Daniels - Vocal Sounds

"AMBIANCE II FUSION ENSEMBLE"

James "Kino" Cornwell - Keyboards

Randy Landis - Basses

Rick Smith - Percussion

Jim Lum - Guitars

Arnold Ramsey - Drums

Daoud Abubakar Balewa - Soprano Saxophone/Percussion

Recorded at Sound Images Recording Studios - Sound Images Entertainment Complex - North Hollywood, CA & Classic Sound Studios - Hollywood, CA. October/November 1984.

Miles Away Records are proud to introduce our latest single to land on the label: the cosmic soul gem "Super Star" by Ruth Waters and the State of Mind Show Band.

A Texas native, Ruth "Silky" Waters was best known for her two disco-infused album's "Never Gonna Be The Same" and "Out In The Open"- produced by the late, great John Davis (John Davis Orchestra). It was however some of Ruth's early material that caught our interest when we started the label as far back as 2018. "Super Star", released on the tiny independent KMBA Recordings label in the late 1970s, draws from the wells of modern soul and gospel with a touch of cosmic synthy goodness. An proper ear turner, it was like nothing we'd heard before. Flip it and "Super Star Pt.2" goes deeper into the cosmic essence of the track with extended guitar and synth solos making this a crackin' little 45.

The track has been lovingly remastered by Phil Kinrade at the legendary AIR Studios and the lacquer was cut deep by Jukka at Timmion Records. It's now presented in our custom teal green labels and house bag.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

Egyptian-Australian DJ/producer moktar announces his second boundary-pushing five track EP, ‘Immigrant’. An expressive and considered journey that combines his Middle Eastern heritage and influential club sounds in one.

‘Immigrant’ sees moktar continue to bring traditional Arabic instrumentation into the club by weaving samples like polyrhythmic drumming and the Arabic Oud into experimental club music which has captured the attention of many tastemakers. Giant Swan, Anz, Tash LC, Raji Rags, Jamie XX, Bonobo, Groove Armada, Hudson Mohawke, Mary Anne Hobbs and Jamz Supernova all championed his highly favoured self-titled EP in 2021, which topped the Australian community radio charts as a number #1 most played alongside the global support it received. The release represented re-learning the value of his Egyptian heritage following racism and stereotyping growing up. ‘Immigrant’ expands on the story.

Debut single ‘Immigrant’ was released in September and served as a backdrop for moktar to air the stories of many as well as his own, told through a chopped vocal sample of Arsenal Football Club’s host and hype man, Frimpon. ‘North Africa’ and ‘Al-Duqqi’ are a homage to moktar’s roots. ‘Crossroads’ represents his need to push himself and grow in life and music, and ‘Send it’ (a term in Australia that means you're about to do something wild) also aims to represent Middle Eastern communities in Bankstown, Sydney.

moktar explains - “Through Immigrant I wanted to highlight the struggle many people all over the world go through to be accepted, while representing the community in Egypt, North Africa and Australia. Fusing Middle Eastern sounds into sounds into my music has been a big part of helping me become proud of who I am. I feel passionate about bringing these sounds to a wider audience in the hope it helps others in the identity struggle feel a sense of pride too”

The EP falls just as moktar’s highly anticipated debut EU tour comes to a close, playing b2b with DJ Plead at Phonox for Yung Singh, Adaptations Festival, Repercussions Festival, Werkhaus Festival, b2b with Mr Scruff at Field Day, Lost Village, Amsterdam for ADE with Kode 9, Rex Club in Paris, and Takseer festival Berlin.

In August 2020, following some typical delays at the plant, Fourth Dimension Records released the limited edition 2LP (and now sold out) set of Kleistwahr's This World Is Not My Home and Over Your Heads Forever albums, originally released by the same label in 2014 and 2016 respectively. Packaged together in a single sleeve with printed inners reproducing all the artwork found on the original CDs, the 2LP was always designed to represent the first volume in a series of them. This next volume gathers everything on the next two albums, Down But Defiant Yet and Acceptance is Not Respect, both also initially released on CD in, respectively, 2017 and 2018, and presented in the exact same way. 2017's long sold out at source album, Down But Defiant Yet, collects four lengthy cuts which catch Gary Mundy (also known for Ramleh, Breathless and Broken Flag Records) furrowing his distinct and recognisable take on a kinda contemporary psychedelia with dystopian leanings. Each piece nods towards the fug generated by certain ‘krautrock’ groups whilst retaining threads of those uncompromising power-noise surges he built his reputation on, this is music guaranteed to take you to new spaces before forcing you to nervously look over your shoulder. 2018's Acceptance is Not Respect collects two lengthy pieces themselves broken down into seven parts often tempered to the point restraint assumes new, often disturbed (and disturbing) psychedelic or even filmic, properties, this music arrives like a spitting and foaming scream into the insanity of the void and the myriad challenges and questions it inexorably keeps hurling at us. Whereas Ramleh captures the sound of at least two people dealing as best they know how with the constantly rising rivers of shit around us, Kleistwahr is akin to one man having scaled a great height poking out of an infinite chasm and wondering why he bothered. This is uneasy listening sometimes renderedvirtually elegiac by dint of a prowess rarely found in such realms. Of this, Gary himself quite prophetically, in light of how events have shaped the world since said, “I was trying to make the music more spiritual sounding this time as the album is about belief. The first half is about personal and political belief and the second half about religious belief. I was wondering about whether in the 21st Century, you can seriously get anyone to completely change their beliefs and [am] asking is there anything you believe that you would be willing to die for, and the difference between the way that most beliefs have been accepted/tolerated and [are] supposedly respected in recent times in [the UK]. Now our society is starting to break down, it becomes clear that that acceptance tends not to actually be the same thing as respect at all.”

Repress!

N0!zy blighter Russell Haswell returns to Diagonal 5 years after his label debut with a spontaneously combusting follow-up to ’37 Minute Workout’ generated again from a mix of analog/digital synths and modular systems edited on a computer. It was inspired by a visit to CERN, The European Organisation for Nuclear Research, in Geneva; and dinner with Ted Nelson, whose theories of interwingularity and transclusion chimed with the direction recordings took.There are few artists who can genuinely make music that sounds like your needle and/or record is melting, but Russell Haswell is one of them. His 2nd volume of extremely kinky calisthenics is a potent example of daring to be different in a world where exponentially increasing production options are leading producers of all stripes to the exact same conclusions. But, with thanks to Russell’s iconoclastic intent, restless nature and ascetic aesthetics, he still sounds quite like nobody else, and, even better yet, doesn’t give a shit if you like it or not. For the record (this one in particular), we’re all over it like a hot rash.
Since reincorporating his early love of freestyle electro and Industrial dance music into his patented n0!ze matrices circa the 1st volume of ’37 Minute Workout’, Russell has steered that rhythm-driven style into a string of fizzy bangers for Diagonal and even applied it to his production for Consumer Electronics with typically radical results. Russell’s 2nd volume of ’37 Minute Workout’ is cut from similarly (but never the same) ragged material as the first batch, and spits, kicks and claws with equal amounts of eething, pent energy and rambunctiousness ready to jab the ‘floor in the eye or dissolve a party where needed.
Crowbarring cues ranging from the Latin Rascals to Incapacitants and Jeff Mills into 7 wickedly awkward designs, Haswell keeps his avant aerobics radically irregular as he hops from the tendon-twitching angularity of ‘The Wild Horses of the Revolution have arrived Without Knight’ to steel-hoofed clatter in ‘Central Crisis Management Cell’ and the lacquer-eating dynamics of ‘Painful
Memories From The Past Need To Be Acknowledged’, before toning a proper nasty acid special in the UR inversion ‘Dancing on the Head of an Eagle’, and seemingly sucking your brain out thru a straw with ‘Starting Something You’re Not Able To Finish’, with the dry witted, skeletal jazz-funk squirm of ‘Diplomatic Cocktail Circuit’ closing the party down in style.

It's always good to have Norbak onboard again with this brand new slice of plastic. Four cuts of precise and gymnastic techno aimed for the most advanced dancefloors energetic and intelligent at the same time, as we like.

A side starts with "Tell me I'm wrong" a fast paced hypnotic exercise with adrenalinic synth lines running over complex rhythms, properly arranged in a constantly changing structure.

"Amongst Them" follow, textured flanged sounds running across the stereo field, shuffled beats and lots of space, the definition of how profound techno should be.

Flipping the vinyl, B1 is "Pure and Faithful", funk infused sequences constantly altered in shape, complex grooves and as always a profound structure full of twists.

Last cut in this exercise is "Unbearable Lightness", continuous and repetitive randomized synth lines spiced with lots of reverb over a well crafted drum workout, intense and spacious at the same time.

Another demonstration of studio skills and sound design from this young Portuguese producer.

Acid Steve's Avinit Records returns with 4 warehouse thumpers direct from the squat party underbelly of London's Acid Techno scene. Acid Vigilantes ramp up the 303's and add some neat vocals, whilst Techsia slams it out nu-style with hard kicks and plenty of venom. On the flip side Acid Steve and Sam DFL go gnarly with some proper Acid Techno, whilst Bubbless and Nesbit go old-school with firing 909 and 303 analogue mayhem.

blue + red marbled vinyl
"Dog Eared"! Named as such as it marks a turning point in my productions and releases. Made while moving from Bristol back to London this as a theme pops up throughout the EP.

"Ithaca Vox" is the name of my first ever favourite preset - a CMI-inspired pad from GarageBand which I've been using since I was 11 but never on a release. The track also samples the screeching of Victoria line on my way back from nights out.

"Bubble Trouble" caused many headaches to finish hence the addition of the word "Trouble". The track pops, floats and bursts into the space between simplistic cartoon sound sources and excessively over the top sound design and production.

"Dive" dives further into these production ideas swapping tight space tiny bubbles for wide grinning resonance. The twisting track cuts these resonances leaving a large valley of missing frequencies that gets suddenly filled by an unrelentingly simple bell centring the listeners balance.

"From Window to Wall" gives a not so subtle nod to one of my favourite excessive chart hits as well as a further nod to the source of some of the track samples (see if you spot them).

"Calpohol" is the first collaboration Ive released (another reason to Dog Ear this release). Made from an afternoon of recording with Delay Grounds on his custom Eurorack the track was shaped by us over the weeks that followed.

Wye Oak, das Duo bestehend aus Jenn Wasner und Andy Stack, veröffentlicht mit Every Day Like The Last eine Sammlung brandneuer Songs und bereits veröffentlichter Singles, mit der die Band neue Wege beschreitet. Die neun Songs auf Every Day Like The Last stammen aus einer Zeit, in der sich Wye Oak nach mehr als einem Jahrzehnt kontinuierlicher Albumveröffentlichungen und Tourneen im Umbruch befanden. Die musikalische Partnerschaft von Jenn Wasner und Andy Stack erblühte in der Ungewissheit dieser Zeit, wann immer sie spürten, dass Wye Oak etwas zu sagen hatten. Sie gingen dazu über, schnell EPs und Singles zu schreiben, aufzunehmen und digital zu veröffentlichen. Klanglich kehrten Wasner und Stack zu den Grundlagen zurück. Sie balancierten das Organische und das Künstliche aus und nutzen Elektronik und Programmierung, um neue Texturen hinzuzufügen. Für Stack gibt es einen roten Faden, der sich durch das scheinbare Chaos zieht: "Freude im Untergang der Welt zu finden". Every Day Like The Last tut genau das, indem es den Hörer an die neuen Höhen erinnert, die Wye Oak seit 2018's The Louder I Call, The Faster It Runs erreicht haben, während es einen Blick ins Ungewisse wirft, was vor uns liegt. Der Titel dieser Sammlung erkennt diese Dualität an, indem er sie wie eine Frage stellt: "Jeder Tag wie der Tag davor" oder "Jeder Tag wie der letzte Tag auf der Erde"? "Beide Bedeutungen treffen zu", sagt Wasner. Es gibt keine einfachen Antworten.

Wye Oak, das Duo bestehend aus Jenn Wasner und Andy Stack, veröffentlicht mit Every Day Like The Last eine Sammlung brandneuer Songs und bereits veröffentlichter Singles, mit der die Band neue Wege beschreitet. Die neun Songs auf Every Day Like The Last stammen aus einer Zeit, in der sich Wye Oak nach mehr als einem Jahrzehnt kontinuierlicher Albumveröffentlichungen und Tourneen im Umbruch befanden. Die musikalische Partnerschaft von Jenn Wasner und Andy Stack erblühte in der Ungewissheit dieser Zeit, wann immer sie spürten, dass Wye Oak etwas zu sagen hatten. Sie gingen dazu über, schnell EPs und Singles zu schreiben, aufzunehmen und digital zu veröffentlichen. Klanglich kehrten Wasner und Stack zu den Grundlagen zurück. Sie balancierten das Organische und das Künstliche aus und nutzen Elektronik und Programmierung, um neue Texturen hinzuzufügen. Für Stack gibt es einen roten Faden, der sich durch das scheinbare Chaos zieht: "Freude im Untergang der Welt zu finden". Every Day Like The Last tut genau das, indem es den Hörer an die neuen Höhen erinnert, die Wye Oak seit 2018's The Louder I Call, The Faster It Runs erreicht haben, während es einen Blick ins Ungewisse wirft, was vor uns liegt. Der Titel dieser Sammlung erkennt diese Dualität an, indem er sie wie eine Frage stellt: "Jeder Tag wie der Tag davor" oder "Jeder Tag wie der letzte Tag auf der Erde"? "Beide Bedeutungen treffen zu", sagt Wasner. Es gibt keine einfachen Antworten.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

The third Mollono.Bass Album is dedicated to what we need most. We as inhabitants of the same planet, we as members of a free society, and we as a culture. We have to stick together more than ever, rather than drifting further and further apart. At the same time, Together brings together everything Mollono.Bass stands for since more than 20 years: Ritualist Afro-influences and acid loops, the sensual physicality of House, the laid-back boost of Dub Techno, analogue depth and digital highs, hope transcribed into groove and utopia set into rhythmic motion. It’s the dynamic novelty and pioneering spirit of the arrangements that reflect the unmistakable signature style of this producer. True to the traditional idea of an album, complete with previously unreleased tracks and special versions, Together is a highly immersive listening experience from start to end and works beautifully on the dancefloor and far beyond it.

First ever commercial releases of New Orleans’ legend Alvin Batiste’s Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge - Goes To Africa With Love and Live at The 1971 American College Jazz Festival Originally given away as souvenirs at Southern University, these albums contains deep Batiste originals and are some of the most sought after albums of Americas 70s jazz underground.

Each album contains extensive booklet detailing Batiste’s life and his time spent honing and recording this remarkable band of young students. Goes To Africa With Love was mixed from the original multi-track tapes and is now presented as a 2xLP with never-before-released instrumentals.

That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelies, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now.

With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students’ music as Texas Thunder Soul, and the continued belief that beautiful music created by youth - even under the most adverse circumstances - can always inspire us.

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
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"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
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