Suche:so do

Exciting classic and rare afro jams get retouched and cut disco single style. With this unknown entity masquerading as AFRICAN DUBPLATE, it seems very obvious the source is most likely that. Apparently very limited stock so grab it while you can. Random
colored vinyl.

On their second album, Winter Pageant, The Softies move forward with focused delight. It's the combination of Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze, Go Sailor) that molds The Softies' panoply: feathers and thorns, fawn and fearless, fable and friction. Originally released in 1997, Winter Pageant is the drama of utter melancholia documenting the broken promises, missed phone calls, conversations stalled, love lost. Colossal tasks recorded two guitars deep, forming a new Iliad, chapters on brave deeds and the power of love on the move. You can live for love, or you could live for the splendid cascade of guitar on guitar, voice over voice: The Softies. Winter Pageant was recorded by Stuart Hallerman (Soundgarden, KARP) at his Avast! recording studio in Seattle, Washington.

"#1's" ist eine Zusammenstellung von Mariah Careys ersten dreizehn Chart-Singles. Erstmals 1998 herausgegeben, umfasst dieses Greatest-Hits-Album Klassiker wie "Always Be My Baby", "Fantasy" und "One Sweet Day", sowie vier Bonustracks, die bereits auf der ursprünglichen Vinylausgabe enthalten waren. Verfügbar als Doppel-LP auf Metallic-Silver und Black-Swirl Vinyl

The early Reggae sound that came out of Jamaica between the years 1968 and 1971 became the soundtrack to the skinhead movement in the UK. Not only was the music embraced but also the dress style of the Jamaican Rude Boys.

The skinhead style started around 1968 and by the following year 1969, had become the style and fashion of the British teenagers. The uniform of the skinheads consisted of boots, braces, button down shirts and jeans and the upbeat reggae sounds seemed to match the style perfectly. The tempo of the music in Jamaica had previously slowed down from the more up tempo beat of Ska to the calmer pace of beat called Rock Steady. Some say this was to match the extreme heat wave that was hitting the island between 1966 and 1968. But that period had now passed and the evolution of the Reggae beat had again found a new pulse to hang its songs by. A more up tempo beat that all Jamaicans, British youths and various pockets of people around the world could groove to.

We have selected a cross section of tunes from those heady times, so sit back and enjoy some of the tunes the youths were listening to when the Skinhead Shuffle was all the rage. Hope you enjoy the set….

Cinderella's album Still Climbing is a testament to the band's enduring legacy in the realm of hard rock. This fourth and last studio album was released in 1994, combined gritty guitars with Tom Keifer's signature raspy vocals making it an authentic rock record. The track ""Hot & Bothered"" first appeared on the soundtrack of 90s comedy film Wayne's World, which starred Mike Meyers and Dana Carvey. Further standout songs from the album are ""Bad Attitude Shuffle"", ""Freewheelin"" and ""Through The Rain"". Still Climbing includes an insert with lyrics.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Limited edition 300 only cyan coloured vinyl LP, housed in a reverse board sleeve with hype sticker, polylined inner bag and download code. Non-Returnable.
Stars align and Oli Heffernan brings his ever-(d)evolving Ivan The Tolerable to Riot Season for two LPs of sublime entropic drift.
Having this time recruited Christian Alderson (The Unit Ama) on drums, John Pope (Ponyland) on double bass, Kevin Nickles (Ecstatic Vision) on flute and saxophone and Ben Hopkinson on electric piano - both works were recorded as a quintet almost instantaneously, the players barely brushing or breathing a note before the whole thing was done.
‘Vertigo’, is all claustrophobic, dense and disorientating - like Sun Ra sitting in with Exploding Star Orchestra
John Hubner (Complex Distractions) on ‘Vertigo’
“An expansive collection of free-flowing sound and mood bringing to mind Coltrane (John and Alice) as well as the great Albert Ayler, while touching on the forward thinking compositions of Rob Mazurek's Exploding Star Orchestra.
From the titanic soundscape of "New Worlds On Earth" to the Marc Moulin touches of "Liquid Voices" and the mysterious eccentricities of "Swimming", 'Vertigo' hangs in the air long after the final note plays.”

Torae and Marco Polo return with their sophomore release, Midnight Run, the follow-up to their classic debut album Double Barrel. Midnight Run packs 11 tracks that will instantly satisfy fans of the elite lyricism and hard-hitting production the duo is known for. The intro, “Reloaded,” sets the tone from the very beginning, and stand-outs such as “The Return,” “Makin’ Up,” and “Oh No” maintain the momentum throughout. With no guest verses, no bars off, and no filler, Midnight Run gets directly to what you’ve been waiting for from the “Gray Sheep,” Torae and Marco Polo.

Established in 2008, the French band The Lumberjack Feedback comprises talented members from diverse musical backgrounds. Their music is all instrumental, characterized by heavy, powerful riffs, two drummers (!) and hypnotic atmospheres, creating a unique dark though melodic sonic universe. The genesis of the band traces back to a shared passion for innovative metal and a desire to create immersive, captivating music. Over the years, The Lumberjack Feedback has honed its musical identity, blending diverse influences ranging from sludge to doom and post-rock. The result is a complex, entrancing fusion capable of transporting the listener to emotional soundscapes. Through their epic music, The Lumberjack Feedback transcends linguistic and cultural boundaries, resonating with audiences worldwide. The band continues to make its mark in the worldwide thriving post-rock music landscape, delivering energetic and mind-blowing live performances that leave no one indifferent. Brown onyx vinyl.

George Adams (1940-1992) was a passionate tenor-saxophonist who always had his own intense sound and personal approach to playing jazz. Paradise Space Shuttle is his third album as the sole leader and includes the set standard ""Send In The Clowns"", ""Metamorphosis"", a tribute to Charlus Mingus, and the album opener ""Intentions"". The line-up for these recordings included Ron Burton on piano, Don Pate on bass, Al Foster on drums and Azzedin Weston on percussion. Paradise Space Shuttle includes newly written liner notes by music journalist Scott Yanow.

Shop Assistants formed in Edinburgh in 1984 and quickly gained a cult following, playing with kindred spirits the Pastels and the Jesus & Mary Chain and gaining positive coverage in fanzines and the music press. Their Shopping Parade EP and Safety Net single both hit the top of the indie charts and charmed listeners with their unique melodic blend of punk rock and 60s pop. The band signed to Geoff Travis' new Chrysalis Records imprint, Blue Guitar, in 1986 for the release of their debut album 'Will Anything Happen'. The album has since become a cult classic and is an essential listen for fans of indie, dream-pop, and shoe gaze. Stand-out songs include the lead single 'I Don't Wanna Be Friends With You', 'All Day Long', and 'Somewhere In China'. This newly expanded edition has been remastered from the original master tapes and compiled in collaboration with David Keegan and Laura McPhail from the band. CD 1 features the newly remastered version of 'Will Anything Happen' accompanied by B-sides from the era, plus previously unreleased instrumental demos from 1986. CD 2 contains a further 18 previously unreleased tracks including recently unearthed alternate versions and rough mixes from the making of the album, live recordings from London and Deinze, and a John Peel session featuring a cover version of Motorhead's 'Ace Of Spades'. The discs are housed in a 6-panel digisleeve with a 12-page booklet featuring lyrics and photographs.

'You've Changed' was a transcontinental creation that was first released in 1986 on the Sally B label. It melds Jamaican roots with Canadian electronic enhancements at the legendary Channel One Recording Studio. Jamaican reggae don Horace Martin drew inspiration from greats like Dennis Brown, and Horace Andy, and comedy legends like Richard Pryor and Charlie Chaplin and has an eclectic career spans albums like Watermelon Man from 1985 and this one, the avant-garde gem that arrives now on Arabusta. It's a busy and digitally infused reggae sound with elements of dance hall and plenty of catchy rhythms which all lead to international success, performances across 24 countries and having more than 400 songs aired on 9000 radio stations around the world.

For the thirteenth instalment of the Swinging Flavors catalog, Beat Machine Records presents a gem of pure energy by the talented Kyoto-based producer Naco. Set to ignite dance floors worldwide, this release delivers an electrifying fusion of acid, techno, and breaks, with a rave-inspired twist.

Naco, known for his innovative approach to electronic music, defies convention with his genre-defying sound. Drawing inspiration from Bass, Breaks, and Electro, Naco creates a distinctive sonic landscape that captivates audiences worldwide. Since 2017, he has been at the forefront of the music scene, spearheading 85acid, a label dedicated to showcasing emerging talent from Japan and beyond.

"Wavefunk," the lead track on Swinging Flavors #13, is a testament to Naco's unparalleled creativity and sonic mastery. With its infectious rhythm and hypnotic melodies, the fast-paced percussion and minimal character of the release "Wavefunk" transport listeners to a dimension where the boundaries between genres blur and the energy is palpable.

But the journey doesn't end there. Swinging Flavors #13 also features a remix of "Wavefunk" by We Rob Rave. The Polish duo injects his fresh signature style into the track, taking it to new heights and delivering an unforgettable dance floor experience. Transforming it into a full club experience, increasing the beats, and immersing the listener in a rave-like atmosphere fueled by danceable rhythms and an acid edge that cuts through the dance floor.

Another surprise that comes with the latest Swinging Flavors is 'Pure Water,' exclusively on Bandcamp. Let yourself be carried away by the bouncing sounds that make up this Break-style track, closing an energetic and vibrant release.

Naco's music is really pushing the boundaries of electronic music, inspiring both listeners and fellow artists. With a solid track record and a strong commitment to musical innovation, Naco is definitely going to leave a mark on the global music scene.

The album opens with a 13 minute improvisation titled “The Time Is Now For Change”. As Ranelin , Belgrave, and Harrison exchange flurries of notes and squeaks over improvised chaos from the rhythm section, the group builds to a spiritual high that calls to mind the best Albert Ayler recordings. Bebop lines and unison phrases occasionally rise to the surface, offering a glimmer of familiarity in what is largely a harsh soundscape. Yet what sets Ranelin (and indeed, all of his Tribe contemporaries) apart from the larger free and spiritual jazz scene at the time is their sense of rhythm. Even as Harrison evokes sounds that would make a Meditations era Coltrane blush, the drums stay in time, and the looping bass and piano riffs take on an almost hypnotic quality, repeating quietly under a whirlwind of sound.

Later tracks see the ensemble veer into soul jazz, and jazz-funk, with “Black Destiny” perfectly highlighting the group’s ability to meld the avant-garde with grooves that you won’t be able to stop yourself from tapping your foot to. Members of the Tribe were well known for their appreciation of African American popular music, and the influence of groups such as Sly And The Family Stone is clear in the song’s edgy rhythms and dense sound.

This double LP reissue also contains alternate versions and outtakes that are so good you’ll be wondering why they were originally left out! With modern remastering, three bonus tracks, and an obi-strip, you don’t want to miss the definitive version of Phil Ranelin’s The Time Is Now! "

Squama regulars Enji and Popp join forces on ‘Nant’, the debut LP by their newly minted duo ‘Poeji’, exploring the confines of Post-Dub and Downtempo.
2022’s 3-track EP ‘031921 5.24 5.53’, released as a limited run of dubplates, was the first testament to their open approach to writing, which takes only very basic ideas and relies on non-verbal communication to define form and pace.
Enji’s vocals are less centre-stage than on her solo endeavors, piercing through reverb plates and guitar pedals while Simon inked his signature set of wooden and metal percussions with chains of tape echoes and analog delay.
Listening to ‘Nant’ as a snapshot of Poeji’s artistry at a certain time and place can instill a sense of gratitude within the listener that something so fleeting can be captured.

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time. Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

"Are Possible" is a spark-throwing, undulating fusion of styles played (mainly) on banjo, upright bass and drums, made possible by the individual perspectives of Nathan, double-bassist Casey Toll (Jake Xerxes Fussell, Mt. Moriah) and drummer Rex McMurray (CAVE) work together in an easy-rolling manner, but one that contains an expansive, ass-shaking confabulation of ideas. Music is time in redux: Are Possible"s many moments in time carry details from all over the place. Rex brought a rhythm to the table after drumming on buckets at work, Casey provided a bassline that redirected a previous jam, Nathan brought in a song he"d been fucking with forever and they figured it out together. Their diversity of sources moves easily within the arrangements, rendering a far-ranging set of feels, from transcendental to new country funk to good ol" jazz and the folk-rock, even - all of it drawn out exquisitely when they mixed at Electrical Audio in Chicago with the delicate hands of Cooper Crain upon the faders. The Nathan Bowles Trio have done their due diligence, passing their music through time and space on their way to now.

Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time. Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

Chicago's Black Diamond debuts on We Jazz Records with their new album Furniture Of the Mind Rearranging on 26th July. Co-led by Artie Black and Hunter Diamond (composers, saxophones, and other woodwinds), Black Diamond appears in both quartet and duo formations. The first three album sides present the quartet, complete with long standing band members Matt Ulery (double bass) and Neil Hemphill (drums), under the heading Furniture Of the Mind. The remaining two tracks on side D fall under the title The Mind Rearranging, with Black and Diamond presenting a meditative duo encounter of two tenor saxophones.

Furniture Of the Mind Rearranging is an assemblage of new compositions and improvisations that develop the band's established sound and exemplify the way in which this band folds into the Chicago creative music community. The quartet traverses their familiar aesthetic ranges between driving off-kilter groove, plaintive minimalism, and intimate chamber music, with the everpresent spirit of small-group jazz and a hovering influence of Chicago’s improvised music culture. And while this collection represents three previous

albums and more than a decade of close kinship and artistic evolution between co-leaders Black and Diamond, neither are too precious about any one element on the album. This is very simply the latest work in what continues to be an expanding body work founded on a guiding principle: cultivation without expectation.

The four sides with two formations flow together in a natural way, forming an idiosyncratic musical entity that is sure to grow with each new spin on the turntable.

"We had a conversation recently where we realized that we’ve been a band for almost 10 years. When we started Wild Rivers way back when, we had never played a real concert before. When we made our first record it was our first time stepping into a real studio. We barely even knew each other when we started this band. Since then we’ve played a thousand shows, recorded over 30 songs, and become a family.

When we set out to record ‘Never Better’, we felt like we were at a new stage of the band. By that point, we’d put in the hours and all began to feel totally self assured in what we were about to do. We wanted to bring everything we’ve learned over the years and all that we’ve been through as a group to the project. We chose to trust our guts and move quickly and confidently in every decision, second guessing ourselves as little as possible. In having this mindset, we were able to completely let loose and go deeper into the process, finding new ways of recording live, swapping instruments, and turning these songs on their heads. We couldn’t have made this record a few years ago.

We approached this record with the mindset, ‘this is who we are’. We aren’t pretending to be something we’re not, or trying to sound like anyone else. We wanted it to feel easy. We wanted the stories to be real. We wanted to show our true selves as best we could. We’re proud of who we’ve become as people and as a team. We truly feel like we’re having the most fun with music that we’ve ever had, and in the most exciting stage of our lives. We’re never better."

Elusive London trio Ebbb step boldly from the shadows to announce the release of their debut EP ‘All At Once’, out on Ninja Tune. Alongside the news, the band have also released their first official music in the form of double single ‘Himmel’ / ‘Swarm’.

The five-track EP marks the band's first output for new label Ninja Tune — home to trailblazing artists like Young Fathers; Black Country, New Road; and yeule — a fitting platform for their genre-eschewing sound.

Dreamlogic and SW are two standouts in the outlier world of leftfield house music, and they find a perfect home on the equally out-there label that is Kimochi. This is the first time they have been on the same bit of wax (though both have been here many times as solo artists) and hopefully, it won't be the last. There is plenty of unusual rhythm work here with wonky grooves that are enriched with a world of superbly futuristic sound designs. All of these hard to define cuts are serious curveballs that bring a great element of WTF to any set, so do not sleep and add them to your arsenal ASAP.

Seeing the BellRays live is a revelation of what the rock music should be: an aggressive and soulful guitar-driven music that you feel in your guts. The BellRays have been channelling the true spirit of rock and soul since 1990, with this being their fourth blood-letting release. As expected this record oozes a genuine passion, combining the best of a 60s soul review with the fury of garage rock's greatest. Just imagine a young Tina Turner fronting the MC5 and you'll be getting close. But make no mistake, front woman Lisa Kekaula is no mainstream soul singer. Although her warm traditional R&B vocal stylings are big, lush and beautiful, her ferocity is uncompromising. When her rock growl rumbles the floor, you best pay attention, there are no options available. This is a band preaching the continuation of the rock'n'roll tradition in all its purity, anger and visceral power. The BellRays are on a self-professed mission to save rock music from itself and they need a witness.

Seeing the BellRays live is a revelation of what the rock music should be: an aggressive and soulful guitar-driven music that you feel in your guts. The BellRays have been channelling the true spirit of rock and soul since 1990, with this being their fourth blood-letting release. As expected this record oozes a genuine passion, combining the best of a 60s soul review with the fury of garage rock's greatest. Just imagine a young Tina Turner fronting the MC5 and you'll be getting close. But make no mistake, front woman Lisa Kekaula is no mainstream soul singer. Although her warm traditional R&B vocal stylings are big, lush and beautiful, her ferocity is uncompromising. When her rock growl rumbles the floor, you best pay attention, there are no options available. This is a band preaching the continuation of the rock'n'roll tradition in all its purity, anger and visceral power. The BellRays are on a self-professed mission to save rock music from itself and they need a witness.

Omega, die erfolgreichste ungarische ProgRock Band, veröffentlichte sein bestes Material in den 70er Jahren, und "Time Robber" gilt als der musikalische Höhepunkt in der Omega-Diskographie. Kernstück der LP ist der Titelsong, flankiert von "House Of Cards Part I & II". Das fast 13-minütige Werk bündelte exakt, was Omega 1976 ausmachte: Progressiver Space Rock versetzt mit Hard-Rock-Elementen. Nach vier Studio-Alben und einer Compilation waren die ungarischen Top-Stars Omega im Westen immer noch nur ein Geheimtipp. Eine steigende Tendenz bei den Absatzzahlen war aber zu erkennen, selbst wenn die Verkäufe längst nicht durch die Decke gingen. Darüber hinaus hatte sich die Band entwickelt, war live und in ihrem Erscheinungsbild professioneller geworden. Die Bacillus/Bellaphon-Verantwortlichen wollten Omega demnach auf jeden Fall behalten und verlängerten 1976 den Vertrag mit dem Quintett bis 1980. Und dieses zog mit Peter Hauke in die Offenbacher Europasound-Studios und spielte dort "Time Robber" ein. Die LP wurde im Westen Omegas Durchbruch. Bis heute soll sich das Album an die zwei Millionen Mal verkauft haben. Und dieser Erfolg kam nicht von ungefähr, lieferten die Ungarn doch erstmals ein komplexes, in sich geschlossenes Werk ab.

"Greatest Hits 1982–1989 is the third greatest hits album by the American band Chicago, released by Full Moon/Reprise Records on November 21, 1989.1 It became one of Chicago's biggest selling albums. Spanning from Chicago 16 in 1982 to Chicago 19 in 1988, the set includes founding vocalist Peter Cetera and his successor Jason Scheff. It includes a remix of ""What Kind of Man Would I Be?""
Highlights: On a sea blue colour vinyl for the first time as part of Rhino’s Summer Vinyl Campaign"

"60s Greatest Hits, a newly-curated compilation of the ""Jersey Boys"" chart toppers from that decade includes ""Sherry,"" ""Bye Bye Baby (Baby Goodbye),"" ""Big Girls Don't Cry,"" ""Walk Like A Man"" and many more. On 140g Sea Blue Vinyl, spinning this record will instantly transport the listener to a soft breeze by the Jersey Shore, soda jerks, ice cream sundaes, and sock hops.
Highlights: On sea blue vinyl for the first time as part of Rhino’s Summer Vinyl Campaign"

"Limited-Edition, 1LP on Sea Blue Vinyl as a retail exclusive, and std black vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Grateful Dead's third Arista album, and their first recording of the 1980s. More than 40 years since its debut, GO TO HEAVEN is packed with songs that remain classics of the Grateful Dead canon, including “Althea,” “Feel Like A Stranger,” “Alabama Getaway,” “Lost Sailor/Saint Of Circumstance,” and Brent Mydland's first two original contributions to the Dead's live and studio output, “Far From Me” and “Easy To Love You.” – David Lemieux"

"Limited-Edition, 1LP on Sea Blue Vinyl as a retail exclusive, and std black vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Grateful Dead's third Arista album, and their first recording of the 1980s. More than 40 years since its debut, GO TO HEAVEN is packed with songs that remain classics of the Grateful Dead canon, including “Althea,” “Feel Like A Stranger,” “Alabama Getaway,” “Lost Sailor/Saint Of Circumstance,” and Brent Mydland's first two original contributions to the Dead's live and studio output, “Far From Me” and “Easy To Love You.” – David Lemieux"

Mit „hi, my name is insecure“ veröffentlicht Sam Tompkins sein mit Spannung erwartetes Debütalbum. Als Summe jahrelanger harter Arbeit werden bekannte Fan-Favoriten, wie „time will fly“, „lose it all“ oder „die for someone“, mit neuem Material vereint und bilden somit einen Long Player nach Sams Vorstellungen.

Unterstützt wird Tompkins durch Writer Pablo Bowman (u.a. Calvin Harris, James Arthur), sowie Writer und Produzent Danny Casio (u.a. Rudimental, Little Mix). Seine EP „Who Do You Pray To?” war 2022 direkt in den Top 10 der UK Album Charts. Seitdem zählt Sam Tompkins zu einem der spannendsten britischen Talente. Auf „hi, my name is insecure” zeigt sich Sam von seiner introvertierten Seite und erklärt: „Ich mag es sehr mit meinen Freunden zusammen zu sein.

Doch sobald man mich aus meiner Komfortzone zieht, z.B. auf einer Party, gehe ich in mich und versuche eine Ausrede zu finden, um rauszugehen.“ Das Album „hi, my name is insecure“ erscheint auf Vinyl, als CD und digital.

60 Jahre nach Luciano Pavarottis erster Aufnahme für Decca veröffentlicht das Label zwei der beliebtesten
Alben des Jahrhundert-Tenors neu auf CD und farbigem Vinyl: „O Sole Mio“ und ”Arias by Verdi and
Donizetti”.

Arias by Verdi and Donizetti
Das 1968 aufgenommene Album „Arias by Verdi and Donizetti“ beginnt mit einer Auswahl von Arien
aus vier Verdi-Opern: „Luisa Miller“, „I due Foscari“, „Un ballo in maschera“ und „Macbeth“. Es folgen
Arien aus vier Opern von Donizetti: “Lucia di Lammermoor”, “Il duca d’Alba”, “La favorita” und “Don
Sebastiano”. Kaum je war Pavarottis Gesang natürlicher und vollendeter zu erleben als auf diesem Album,
gepresst auf gelbem Vinyl, in dem sich die Farben des prägnanten Covers widerspiegeln.

The album “Albert Live” by Albert King, released in 1977, captures the essence of electric blues with King’s unmistakable guitar style. Recorded live, this album delivers a raw and powerful performance, showcasing his expressive guitar playing and deep voice. It includes classics like “Blues Power” and “Stormy Monday,” illustrating his ability to electrify his audience. “Albert Live” is a vibrant testament to Albert King’s talent, making this album a must-have for blues enthusiasts.

forgive too slow, Avant Garde artist julia-sophie’s deeply personal debut album is testament to her ability to transform adversity into raw beauty, combining her traditional songwriting roots with her own take on experimental electronica. It features her intimate voice backed by warm and precise electronic sounds whose free spirited explorations give body to the carefully written personal songs julia-sophie comes off the drama of her 2010s rock band, Little Fish, which was signed to a major label. The surreal experiences (like being flown to Las Vegas in helicopters with a bag of slot machine money or given limousines for the day to go shopping), along with having to work in environments where she felt unsafe, drove her decision to leave the fame game. She turned down the offer to emigrate to America and engage with the machinations of the system as it did not feel “true or congruent with who I was”. Instead, she focused her attention on her hometown (Oxford, UK). She started recording lo-fi pop in her garage, using an old laptop, wonky microphones and hitting whatever was around for beats. Candy Says grew to be more of a collective than a band, and eventually co-wrote a film score for indie film Burn Burn Burn and recorded a cover of Running Up That Hill for the Netflix film Close (starring Noomi Rapace). Julia-Sophie soon started recording songs with her friend B, who had a studio stacked from wall-to-wall with analogue recording gear, vintage synths and drum machines. She decided to self-release and the music reached audiences beyond her expectations, including support from BBC Radio 6 and a feature in The Quietus. forgive too slow is Julia-Sophie’s debut solo album, and concerns relationships and the struggles we go through when we “forgive too slow” and can’t break out of patterns from the past. The songs narrate her story of self-destruction (“numb”), love (“falling”), and loss (“telephone”). By the end, embers are still burning and there is no telling if Julia-Sophie has found peace, but we do get a sense that she has gotten closer to the core of her being and is finally living authentically.

180g, red marble vinyl. This album features Babe Ruth's iconic LIVE performance in Montreal on April 9th, 1975, featuring 4 out of the 5 original band members in their prime. With every track, the band's unparalleled musical craftsmanship takes center stage, showcasing their ability to blend rock, jazz, and Latin influences into a unique auditory experience. The collectible status of this record makes it a must-have for any aficionado of classic rock. So, immerse yourself in the cool, creative vibes of "Babe Ruth - Live in Montreal April 9th, 1975," and let the transcendent sounds of a bygone era enchant your modern soul.

180g, red vinyl. This album features Babe Ruth's iconic LIVE performance in Montreal on April 9th, 1975, featuring 4 out of the 5 original band members in their prime. With every track, the band's unparalleled musical craftsmanship takes center stage, showcasing their ability to blend rock, jazz, and Latin influences into a unique auditory experience. The collectible status of this record makes it a must-have for any aficionado of classic rock. So, immerse yourself in the cool, creative vibes of "Babe Ruth - Live in Montreal April 9th, 1975," and let the transcendent sounds of a bygone era enchant your modern soul.

Double 180g, magenta marble vinyl. This Album Features the greatest hits by (Initially known as "Charlie Cuckoo,") the band soon simplified their name to "Charlie." After some early singles, they found success with "She Loves to Be In Love" in 1978. However, lineup changes and label issues plagued them, leading to disbandment in 1983 after their hit "It's Inevitable" failed to save them. In 1986, Terry Thomas revived the band for "In Pursuit of Romance," but it was more of a solo effort due to various circumstances.

Double 180g, magenta marble vinyl. This Album Features the greatest hits by (Initially known as "Charlie Cuckoo,") the band soon simplified their name to "Charlie." After some early singles, they found success with "She Loves to Be In Love" in 1978. However, lineup changes and label issues plagued them, leading to disbandment in 1983 after their hit "It's Inevitable" failed to save them. In 1986, Terry Thomas revived the band for "In Pursuit of Romance," but it was more of a solo effort due to various circumstances.

The band name is a nod to the eponymous album by Sonny Rollins from 1962, but the project refuses to sound nostalgic. Every performance leads to completely new music, with every player bringing influences from their own generation and background. Recorded by Bartosz Szkielkowski at Pardon To Tu, Warsaw, October 3rd, 2022 (except for LP format extra track). In this quartet Amado gathers three of his strongest longtime influences: German pianist Alexander von Schlippenbach, Norwegian double bass player Ingebrigt Håker Flaten and American drummer Gerry Hemingway. For Amado this band represents a deep dive into his own formative roots, something he has been dealing with more and more in these last few years. With Schlippenbach, Håker Flaten and Hemingway by his side, Amado has the perfect context to explore the classic materials he considers to be the basis of his journey as a musician, an impulse that is part him and part history. This is a quartet whose name really represents, aside from a direct homage to Sonny Rollins, a bridge between different languages, backgrounds and generations, all united through improvisation. Rodrigo Amado - tenor saxophone Alexander Von Schlippenbach - piano Ingebrigt Håker Flaten - bass Gerry Hemingway - drums

The all-new Dream Flight label embarks on its first voyage here and it does so in some style. 4:32AM - heavily associated with the Palace Vinyl shop in south London - is presumably named after that specific time in the night when only the deepest and most heady vibes will do, and that's exactly what we get here with 'Mitt Palms'. It's a delightful work of delicate and quiet deep house artistry with ambient pads and dreamy drums. 'Soft August Rain' is just as heady but brings some soft acid magic to the dusty beats and last of all 'Dream Flight' shows off some suburb drum programming with jostling broken beats and woody hits softened by smeared and painterly pads.

Two times UK Blues Award winner second album for APM Records released on CD. HSLB carries the narrative of a bluesman upto no good who when his world falls apart, admits what he’s done and atones. Produced by Phil Dearing (Eliza Carthy, Gretchen Peters, Lauran Cantrell). Features special guest Vaneese Thomas (daughter of Rufus and sister to Carla Thomas). Radio for HSLB : no.1 IBBA radio chart two months running , Top 50 iTunes Blues album chart (US) / no.3 Roots Music Report Blues Album (Global)/ no.1 Roots Music Report Blues song ‘Blind Leading The Blind’ (Global) / Top10 Living Blues radio chart (US) / Top 20 National College Radio (US), airplay on 50 stations (US) / airplay in Netherlands, Australia, Canada, Switzerland, Croatia, France, Italy, Germany, Israel Press for HSLB : Blues In Britain front cover, reviews Blues Matters, Blues in Britain, Rock & Reel, Living Blues (US), Blues Blast (US), Charlotte Blues Society (US), Blues Roadhouse (US), Big City R&B (US) Bluestown (NL) “Mississippi MacDonald riffs like a fabulous Albert King circa his Stax days”. • Mississippi MacDonald is playing: Love Fields Stage-Glastonbury, Linton Blues Festival, Dereham Blues Festival, Brightlingsea Festival, Over The Hill Festival, Mississippi MacDonald won Traditional Blues Artist of the Year 2024 and Acoustic Blues Artist of the Year 2024 at the UK Blues Awards in April. HSLB Nominated for UK Blues album of the year

Psalms Of Yellow House“ folgt auf das 2020 erschienene Projekt, „Mania/ Post Mania“, das von BIRP.fm, Indie Shuffle, Maison Kitsuné und Stereofox gelobt wurde. Wie bereits erwähnt, arbeitete Yellow House mit ODESZA an der im letzten Jahr erschienenen EP, „Flaws In Our Design“, einer verträumten, transformativen Verschmelzung von Yellow House' psychedelischem Alterna-Folk und ODESZAs epischen, symphonischen Kompositionen, die von Dancing Astronaut sowie American Songwriter - die die EP als „atemberaubende, kopfnickende neue Traummusik“ beschrieben - gelobt wurde. Die EP brachte Yellow House auch den Einstieg in die Billboard Hot Dance/ Electronic Songs Charts mit der Leadsingle, „Heavier“.

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Finnish drummer/Producer Teppo "Teddy Rok" Mäkynen returns with his alias The Stance Brothers with "Sao Paolo / Timmy", a new 7"/digital single release on July 26th on We Jazz Records. Lauded by the likes of DJ Koco aka Shimokita, Kenny Dope and Gilles Peterson, Mäkynen's studio creation released the new album Duktus in November 2023, the project's first full length in more than 10 years. Back a new version of album cut "Sao Paolo" polus an unreleased new track, "Timmy", the project a treasure-trove for everyone into crunchy jazz funk à la Bob James & CTI, but this is no retro exercise. Teddy Rok moves forward in all directions, constantly bringing new elements into his sound, which is more layered and deep than ever before. At the same time, the crunch & the breaks are there when you need them.

The Stance 7" sides are often dominated by crunchy drums and crystal clear vibraphone melodies, and that's the overall vibe here, too. That being said, Mäkynen keeps things moving forward at all times, achieving moments of pure bliss with tracks that sound compact but expand far and wide both emotionally and musically.

The Stance Brothers are active live as a four-piece band, appearing live over the summer in Finland at Odysseus Festival and Flow Festival in Helsinki, plus G Livelab Tampere.

I needed to do some recording to cheer myself up. The studio I usually use was booked all month, but before the disasters of Brexit & Covid I’d met pianist Yves Meerschaut in Gent, and he’d shown me his recording studio, Room 13, and that did have a couple of days free in January… I decided to make a record of old songs that other people have liked, and / or that I play differently now, and / or that haven’t appeared on vinyl before. So, here, there’s: “Pennypot Lane”, a fox song that people like, “Winter Turns to Spring” that was Tony Benn’s favourite song, “The Blue Sea Says Yes”, a song about how the sea welcomes us all, heroic or fragile, equally in our mortality (something like that anyway) , that I had forgotten about till people started saying how much they liked it, “More Than Enough”, that Roy Bailey and Martin Simpson have kindly rescued from the obscurity of its previous appearance on a CD in 1992, “Babbecombe at the Closing of the Day”, a song about going to Babbecombe model village, “At the Siege of Madrid” which quite a few people like, but is one of those songs that always somehow eludes a definitive performance, “A True History of Couscous”, a song I like that is more or a less fictionalized autobiography, and lastly.. “You Don’t Have to Say Goodbye”. This is a song from my first CD; Thames Valley folk-stalwart Terry Silver used to enjoy performing it so that afterwards he could shock audiences who’d been happily singing along to it by revealing it had been written by that dreadful lefty Robb Johnson, It’s also, more recently, a song our son Arvin likes very much too, and he graces this version with his characteristically modest tasteful Spanish guitar playing. He also nagged me into doing the artwork for the cover. Three of these songs are lucky enough to have Yves’s breathtaking, exquisite piano playing embellishing them, and Sian Allen gifts “Madrid” some beautiful trumpet accompaniment too. But primarily, for good or ill, it’s mainly me with an acoustic guitar. Robb Johnson, May 24. “in my view one of the best songwriters this country has produced in many a year… the appellation National Treasure is often over-used, but in Robb’s case it is entirely appropriate (St Edith’s Folk) // “an English original”, (Robin Denselow, the Guardian) // “a national treasure” (Mike Harding) // “one of this country’s most important songwriters (no argument!)

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

Black Decelerant is the second installment of Reflections, a series showcasing contemporary collaborations orchestrated by RVNG Intl., recently inaugurated by Steve Gunn and David Moore. Black Decelerant, the duo of Khari Lucas, aka Contour, and Omari Jazz, explores jazz traditions, improvising with synthesizers, guitars, and electronics as a practice laid forth by their musical ancestors. This experience allows for sonic meditations on themes such as Black being/nonbeing, mourning/life, expansion/limitation, and the individual/the collective. The two strive to create a sonic surface which can simultaneously allow Black listeners a place to be still, and to serve as a basis for a movement beyond "the moment." The album's ten compositions configure vast, resonant landscapes with signals, weathers and spirits, suspended in memory and distilled in time. The Black Decelerant machine recalibrates archival relics and acoustic impulses into collages of amalgamated timbres, where harmony exists not without discordance. Across the expansive space of the record, cadent storms of modulated sound ascend beside serene melodic spells. Piano keys and bass lines tumble in free fall throughout the release, accompanied on tracks "two" and "eight" by the spectral trumpet improvisations of Jawwaad Taylor. The duo arrived at their name upon reading Aria Dean's Notes on Blacceleration, an article which explores Accelerationism within the context of Black being or non-being as a foundational tenet of capitalism. Coupled with the record's intended effect, "Black Decelerant" references the music being an invitation to slow down, while hinting at the shared politics between themselves and the artists and thinkers who inspire them.

An incredible, uplifting joint from New Zealand soul artist Arjuna Oakes. His second release on the Albert’s Favourites imprint overflows with the clear enjoyment of the band featuring legendary Nathan Haines. We’d say there’s a reasonable nod to D'Angelo’s essential Spanish Joint within these grooves.

The b-side delivers a vinyl exclusive – a downtempo, moody little number with an emotional drive that is deeply compelling – one to get lost inside.

DJ Feedback:

Gilles Peterson (BBC Radio 6 Music) - 'Watch out for a great singer from New Zealand called Arjuna Oakes' Gilles Peterson (BBC Radio 6 Music)

Tallinn's OG mainstay Nikolajev hops back on Sad Fun camp to hand out two bass loyal dancefloor beasts. A side “Lego Dub” steps on it accurately with its beat all flanged up & pushed to the red of course. Arpeggiator carousels doing the rounds with Niko’s vocals sprayed left & right, front & back like bad hallucinations. Hihat chewing your ear off. Are we there yet? Nope. B side has the funk. And chaos. Let the acidic bass sink in & soundtrack your mid–summer madness. Trust Nikolajev to be your guide, always.

Hospital Records’ jazz-infused drum & bass supplier and Goldfat Records co-founder Mitekiss drives into 2021 with his ‘Night Bus Stories’ EP, with four brand new tracks that are some of his best work to date.
Following on from the triumph of his ‘Objects To Push’ EP which received support from legendary figures including LTJ Bukem and DJ Fresh, Mitekiss’ latest release is profound and from the heart.
’City Angels (feat. Milo Merah & RSWT)’ beckons with sombre guitar licks and piano chord progressions drenched in melancholy. Milo Merah lays down captivatingly sincere vocals as he proves himself to be one of London’s rising musical talents. Nottingham born and bred, MC and vocalist RSWT showcases his deep-rooted musical ability as his vivid bars are flawlessly intertwined amongst Mitekiss’ orchestral strings.
Trickling ride cymbals and soulful keys set the scene on ‘Rain (Falling Down)’ as Mitekiss’ love for jazz eminently shines through. Mr Porter graces the track with a sublime vocal hook which drifts above delicate drums and off-beat bass notes.
In honour of the night bus on which he was a frequent traveller, Mitekiss exposes his deeper and darker side on ‘N68’. Tearout breaks, moody synth drones and a ruthless bassline make a mind-bending sonic imprint demonstrating Mitekiss’ diverse range of production mastery.
Teaming up with esteemed talent Javeon who’s no stranger to vocalling an array of drum & bass anthems, ‘Ring Alarms’ is a raw and irresistible stepper that encompasses enchanting melodies and warm flourishes.
Beyond his latest ‘Night Bus Stories’ EP, Mitekiss continues to demonstrate his taste-making abilities through the running of his very own label, Goldfat Records, which has proven to be ahead of the curve by putting out some of the most forward-thinking and sonically diverse drum & bass this year. With previous releases also on Shogun Audio, Skankandbass and his own Goldfat imprint, Mitekiss is building up a solid discography which is guaranteed to set the precedent for the sounds of tomorrow.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

On his new album, Samurai, Lupe retreats inward to give fans one of his most personal albums in his deep catalog. “I sometimes get tagged by my fans as not doing personal records,” Lupe says, “but I always tell people there's me in there if you listen closely enough. This album is one of my more personal records to date. It's not a full biography, but my personal experiences are tied up in all of my music. A lot of the records are me. Some are from the POV of a character. and some are me. The album weaves things from my life as an artist, touching on things other artists go through.” The narrative follows a battle rapper through various moments in his career, starting with how they honed their battle rap skills, following their career through different moments. Musically, the new album finds Lupe delighting in the simple pleasures of assembling assonant syllables into playful and poignant narratives. The 8-track album is smooth, yet cerebral, brimming with ideas, but always radiating Lupe’s pure love for the art of emceeing and committing himself as a servant of the rap game. The album was produced in full by longtime collaborator and friend, Soundtrakk (“Superstar,” “Kick, Push,” “HipHop Saved My Life”), their second time linking up on a full album after 2022’s DRILL MUSIC IN ZION, and is also the first time Lupe, Trakk, and longtime manager Charles “Chill” Patton were in the studio together since Patton’s release from prison in 2023. “It felt great to be back in the studio again as a family,” Lupe says. It’s the first time they’d worked together in the studio since Lupe’s seminal album, The Cool in 2005. “The word ‘samurai’ means to serve,” Lupe says on the album’s title. “My relationship to that word has always meant that you need to be at the service of other people, either in the overall community, or in this instance, the rap community at large that I’ve been a part of for years. You have some duty, some purpose to serve. The title alone is very important to me. Before rap even, martial arts was my whole life, and it still plays a huge role in my life. The album is me, but also inspired by a quote I heard from one of my favorite artists. The overall themes of the album speak to the constant fight and the battle one goes through being in the entertainment industry. Some of the things we need to defend.”

Off the back of their three releases in 2023, The Trip present their first remix EP. Inviting some of their favourite artists including Spray, Aldonna, Liquid Earth and Adam Collins, each have taken it in turn to remix a track from their back catalog on Tessellate. Got all bases covered here, a bit of tribal, bit of more techy stuff, some prog and some acid thrown in for good measure.

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

The Brazilian composer, pianist and producer, Mário Castro Neves and his group, Samba S. A.'s self-titled album from 1967 is oozing with class. It possesses that archetypal 60's bossa nova, jazz, samba sound. We’d place it up there with Sergio Mendes at his finest, Tambo Trio or Milton Banana. It’s a breezy ride that touches on easy listening at times, but it holds it together with a cool swagger. Biba and Thaís Do Amaral's vocals are on point, with a relaxed delivery that compliments the tracks with the sublime beauty à la vocal groups such as Quarteto Em Cy, who Biba also sang with, as well as with Antonio Adolfo's e A Brazuca. Also appearing on the record is bassist extraordinaire, Novelli who worked with Milton Nascimento, Nelson Angelo E Joyce, Airto, and many of the greats of Brazilian music of the time.

The album has long been a favourite with DJs and collectors over the years, with songs selected for compilations by Gilles Peterson and Nicola Conte. One of the centrepieces of the album, 'Candomblé’, has been sampled by Cut Chemist on his track 'Povo De Santo'. The song 'Naña' is punchy and light with dancefloor-jazz appeal. The gloriously catchy 'Vem Balançar' is a brilliant bossa shuffler. A superb listen throughout, the album sticks to a framework but delivers in spades.

Though released on the major-label RCA Victor, original copies are elusive, sought-after items with a price tag to match. For this reissue, we have opted for the Mono master, mirroring the original 1967 Brazilian pressing. Instantly familiar, the album has a welcoming feeling of nostalgia and is something that stays with you from the first listen.

Amazingblaze returns to home label KNTXT with an exhilarating new release that shows another subtle evolution in his style. His Touch The Sky EP features four standout new tracks that are sure to make a global impact.

Amazingblaze emerged as a pivotal tastemaker in the new school scene, marking his debut on KNTXT in 2022 with his Venture EP. Last year, he further solidified his presence on the label, with the release of two EPs and a remix of Charlotte de Witte’s single ‘High Street’. He has been obsessed with music since a young age and that shows in his productions which blend the inspirations of his youth with plenty of fresh contemporary style. His releases consistently aim to leave a significant mark on the club scene, and this latest EP is no exception. With powerful grooves and emotive synths, it sets the stage for another impactful experience.

Amazingblaze on his new EP: "Touch The Sky is a blend of emotions of early trance with the shape of a modern look. From start to finish it's catching you with pleasant pressure and doesn't let you go. Really proud of this one!"

Charlotte de Witte adds: “Amazingblaze is back and I'm just obsessed with these four tracks. They're all masterpieces, representing his very unique and distinctive sound. I'm very proud to be able to welcome him again on the label and continue to be a place he can call home.”

Opener Touch The Sky is a high speed and fresh techno sound that is laced with euphoric trance synths and a heartfelt vocal. It is sure to get hands in the air and dance floors locked into its spell. Kaleidoscope ups the ante further with more scintillating hard techno drums and flashes of synth that will chime perfectly with strobe-lit clubs. A spine-tinging breakdown features angelic vocals before the drums kick in and power things to the next level. Thank You, God Always is more straight up with hard edge drums and synths that spray about the mix with bright rave energy and futuristic soul and last of all is Habits, an urgent and high speed wave of lush trance techno with a classic vocal stab and more celestial voices drifting up to hypnotic effect.

This is another big release from Amazingblaze that shows he has plenty of new tricks up his sleeve.

Air is the central element in Antonina Nowacka's third solo album Sylphine Soporifera. The title names an imaginary species and the land they inhabit, inspired by the unreal desert landscape of Paracas and the undulating tree-less hills of the Outer Hebrides, and comes from the writings of Rudolf Steiner, who describes creatures called Sylphs as the spirits of the air, and the Latin word sopor which means deep sleep.

As with all her releases, Nowacka's other-worldly vocals coming as if from beyond the veil, at once haunting, alien and utterly entrancing. "The voice is the most beautiful and resonating instrument,” she says. “When I sing I feel I create a field in between myself and the air in front of me," she explains. "It is not just that I'm singing – something in the space in front of me is happening, and I merge with this sphere.”

She conjures and is inspired by open environments and infinite landscapes: places full of light and air, manifested here in the sound of ocarinas from Budrio in Italy, whistles from Mexico, simple bamboo flutes from Nepal, alongside tremulous zithers, synthetic Hawaiian sounds from a vintage organ and the uncanny wind instrument presets from a 90s synth.

Nowacka’s first album was informed by vocal sketches made in caves in Indonesia, later recorded at a fortress in Poland; she studied Hindustani music in India with vocalist Shashwati Mandal, fell in love with early Cumbia in Mexico and Peru, and has more recently found inspiration in the landscapes of Italy. Hers is a new New Age soundworld that finds its origins everywhere and nowhere. Sylphine Soporifera gathers these sounds, visions and experiences into an album permeated with a sense of hope and fulfilment, that feels like sitting in an enlivening white beam of afternoon sunlight, as dustmotes swirl in the stillness.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

It's like waking up. Disorientated at first, feedback, crushed stones, voices, that's how it starts and you feel protected by this music in a strange way and encouraged to gain insight. As soon as you have begun to really like a chunk of sound and develop an interest in it, it is multiplied or destroyed in some way and someone calls out "Ich". Ich. LSD is hopscotch compared to that. Later, steel rails are dissected. It is ringing in the ears. Everything trembles. It is obvious that you are being looked after, that someone really cares. You are never left alone, whether you like it or not. And then inevitably comes the moment of silence, after being sent through old telephone cables and the nightmares of your ancestors. Pretty much the exact opposite of a podcast. Nevertheless, hits are not left out. Seth is predominantly seen as a harmful god – but by far not only.

Rua Sound's sell out Foxy Jangle series returns with a ninth (second-last!) release: a double A-side featuring Bedford hardcore hero Wise & Deadly, and legend of the UK soundsystem scene, Humb.

Wise & Deadly offers a cheeky take on a well known free party anthem. Humb goes in heavy on the amens for maxmium dancefloor devastation.

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer `What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

After a hiatus of a few years to concentrate on various studio projects, Steevio’s Mindtours label is back with a vinyl release over 2 volumes, pressed on bio-vinyl at the carbon neutral pressing plant Deepgrooves.

Dod yn ôl at fy nghoed (which is Welsh for ‘to return to my trees’ meaning to return to balanced state of mind) sees Steevio experimenting with deep, broken-beat bass techno awash with polymetric rhythms and jazz infused chord structures. Steevio’s musical approach has in recent years become more free-form, with loose mathematical frameworks, evading clear generic boundaries, and this release continues and expands on that theme.

All tracks were recorded live and improvised from a blank canvas in real-time on an analogue modular synthesizer.

Vol. 1 was all recorded during Covid lockdown and represents some the best material from jams from that period. All tracks were recorded live and improvised from a blank canvas in real-time on an analogue modular synthesizer.

Vol. 2 to be released 1 month after.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

First time reissue of “Quiero…” by Peruvian-Cuban singer and composer Króffer Jiménez, leader of Poppy y sus Pirañas, one of the key figures in Peruvian tropical music.Recorded in 1969 but not released until 1972, this album comprises guarachas and cumbias that were ahead of their time, mostly original compositions. Unfortunately the album went almost unnoticed back in the day, becoming a sought-after collector’s item in recent times. Quintets such as Compay Quinto, Pedro Miguel y sus Maracaibos and Los Totos were the stars of the Peruvian tropical scene at that time, winning over listeners with their powerful rhythm section and fast-paced melodies. In contrast, the dozen guarachas and cumbias on "Quiero..." are slower and more relaxed, where the elegant intonation displays Króffer’s Cuban roots, with the Pirañas contributing during the more festive moments. The cumbia 'Mala mujer' and the guarachas 'Amar en el mar' and 'El sortilegio' were ahead of their time, as the singing style adopted would only become fashionable from 1971 onwards. 180g vinyl.

DJ Support: Kerri Chandler, Prunk, M-High, Archie Hamilton, Mr.V, Alexi Delano, Laurent Garnier, Okain, Mystic Bill

Dutch House maestro Dennis Quin makes a welcome return to PIV this July with his ‘Treat You Right’ EP, comprising four originals, one of which features LA’s Cheshy on vocals. Over the past ten years Amsterdam’s Dennis Quin has moved from strength to strength and has become globally revered and respected for his raw and powerful productions, racking up releases on Cécille, Ibadan, Dungeon Meat, Eastenderz and of course the leading light of his hometown scene, PIV, where he returns with his latest EP.

Up first on the package is the original mix of title-cut ‘Treat You Right’ which sees Dennis team up with Los Angeles based Cheshy, delivering a composition that personifies the quintessential House sound, crisp 909 drums, fluttering stab sequences and a bumpy bass hook run in unison with Cheshy’s soulful vocal stylings, cinematic strings and shimmering synth lines. ‘Impressions’ follows next and showcases a different aesthetic with a swinging low-slung rhythm section, jazzy leads, marimba lines and bouncy subs to create a more Parisian deep house feel.

Further showcasing Quin’s dynamism as a producer ‘Touched’ then shifts up gears to a saturated skippy drum groove, vacillating synth stabs, a heavy dose of low-end drive and hypnotic vocal chants. Lastly to round out the release, Dennis offers up a ‘Classy Dub’ of the title-track, as the name would suggest stripping out a large portion of the vocals and reshaping the structure of some of the original elements and stirring some additional jazzy elements into the mix.

2024 Repress

Physically and mentally draining in the best way possible, Wet Will Always Dry is maybe the most complete statement from Blawan to date, and as such should be ignored at your peril. This becomes evident from the album-opening 'Klade,' a dizzying, tumbling flight of pure energy over overlapping fields of electrified menace. This sets the stage for 'Careless,' which retains the hazardous, crackling atmosphere but dials back the intensity just enough to make room for a new feature, Blawan's eerie and disembodied vocals.

'Tasser' ratchets up the tempo and the frenetic energy yet more, slinging chunks of audio shrapnel and grinding factory noise over the kick-heavy beat, only letting up the tension every now and then for a convulsive breakdown. By the arrival of 'Vented,' a more steady, cycling groove has set in along with the accompaniment of suspenseful melodic swells, but the element of surprise is far from gone: there still seem to be spectral entities lurking around every corner, and there's no shortage of intriguing tumbril weirdness blowing around the imaginary streets that this track conjures up.

The slamming 'North' keeps alive the record's persistent, darkly humorous feeling that things are about to go off the rails at any moment, using wildly contorted sequences and granular debris to shift between total abandon and regimented strictness. A moment of relative calmness, along with the return of the atmospheric vocals, comes about with 'Stell,' a faintly dubby track that leaves an impression like watching streams of traffic progress underneath rolling, deep grey clouds.

'Kalosi' brings back the percussive motif of 'Tasser' and 'North,' this time partnering it with loops that bring to mind radioactive bass strings. 'Nims' then shuts things down with infectious harp-like sequences, fuzz-shrouded percussion and an 'everything but the kitchen sink' mentality towards filtering and processes which will get the attention of all but the most jaded soundhead.

"Moving Ahead" by Gerardo Frisina is a double LP worth of new material that gathers together the various sounds that have characterized his entire production. A multiform album whose stylistic components are easily identifiable (Latin jazz, nu-jazz, Afro-Cuban, dub, electronic music) but that transcends any possible classification as a whole. As the title suggests, "Moving Ahead" is the mature continuation of a 20-year long solo career that once again demonstrates how Gerardo's creativity still manifests itself today at very high levels. Available as a 2LP-set and as a digipack CD with the exclusive bonus track "Mwanga".

Last month, Chase and Status returned to the limelight unveiling their hard-hitting and trailblazing singles “When It Rains” ft. BackRoad Gee, complete with a Jack McMullen starring, Hector Dockrill-directed cinematic visual and the addictive smash “Don’t Be Scared” ft. Takura. Today, the duo are making a true statement of intent for the year ahead, with the announcement of their sixth studio album, What Came Before. Created by Crown & Owls, the accompanying artwork captures a truly special and magnetic live moment. Speaking on the concept, Crown & Owls state:

“We wanted to create an image that captured the very human compulsion to gather in a dark room and dance and sweat. Such scenes have a different weight to them after they were off the table for a good while, and we were very interested in capturing a moment of collective catharsis in the shadow of a period of history that pushed isolation on so many. We were really interested in the stories of the individuals in the image - what drives them to want to be in that room? The whole campaign kind of works backwards from that moment in the photo really - the intersecting stories of the dance floor, and the sense of freedom and release it brings to the individual. The record sleeve, the single covers, visualisers and elements of the music videos were all captured at this special night - it’s been a joy to work on.”

Landing alongside the album announcement is new single “Mixed Emotions” - a euphoric and recognisably brilliant dose of true Chase and Status energy that landed alongside an incredible video, filmed in two halves and directed by UKMVA-winning Femi Ladi (Pa Salieu - “My Family”). Femi Ladi states:

“On nights out like this, sometimes you just want to get fucked up. Trying to get to that moment, when you’re out of your head and completely in the moment. Sometimes music gets us there, sometimes drugs and alcohol, sometimes it’s a combination of all 3.

I want to connect our camera to the chasing of that high. A visual metaphor for trying to reach that euphoria. Each time she takes a bump, a line or a pill, the camera closes in on her. The closer she gets to that euphoric moment, the closer the camera gets to her.

By the end I want the audience to have an uncomfortable and claustrophobic feeling as our hero goes slightly overboard, a feeling that most of us know but won't dare to admit.”

Consisting of 13 tracks, What Came Before distills 15 years of unparalleled experiences into a bold, invigorating sixth album; informed by global tours, sold out headline shows, five albums, multiple awards, chart success, underground kudos, top tier collaborations and remixes, and, above all else, that unwavering dance floor energy that remains as tangible and transformative now as it has since the very beginning. This pure, unadulterated exhilaration is the glue that binds all of these experiences together, cultivating a legacy of positive vibes, unforgettable moments and the continued progression of British club culture.

For trailblazers Chase and Status, the story is cyclical - a constant process of regeneration and refinement that comes full circle. Everything that came before, from their inception point to now, has brought them back to their essence.

Landing in the wake of their critically acclaimed specialist album RTRN II JUNGLE, and the more recent news of their headlining ParkLife festival this Summer, Chase and Status’s musical return is highly anticipated. After a series of teasers were published on their social media, the duo directed their fans to whatcamebefore , unveiling a plethora of forthcoming Summer festival dates.

The forthcoming album marks the inception point for the duo’s next phase; while on forced hiatus they also went back to square one with their live show. With What Came Before Chase & Status prepare to embark on the next chapter of their illustrious career as a seasoned act ignited by the same excitement

Four years after his last album "TRICKSTER," DJ KRUSH has faced, sharpened, and overcome himself during a new coronavirus pandemic with "Rebirth -Saisei-,"

his first album since becoming independent. In Japanese, "Rebirth" means "Play" to regenerate music and art, "Rebirth" to be reborn, "Reconstruction" to be reborn,

"Renaissance" which is also translated as "literary revival".... With its multifarious connotations, the year 2024 will see DJ KRUSH take the opportunity of his

independence to "Play" and repeatedly "Rebirth" his way into the future. Guest artists include Jinmenusagi, Chinza DOPENESS, and D.O.

Scottish experimental/electronic musician Drew McDowall's lifelong interest in an elegiac solo bagpipe style called pibroch (ceòl mòr in Gaelic) has been an inspiration for much of his previous work (including Coil's legendary Time Machines). This form, often traditionally used for laments and for tributes to the dead, fuses modal drones with flickering dissonance and plaintive melody evoking an ancient, solemn mood. His latest work, A Thread, Silvered and Trembling, both incorporates and transforms these elements via exploratory electronic processing, weaving an electro-acoustic tapestry of strings, shudders, voids, and voices, alternately disembodied and displaced. Co-produced with engineer Randall Dunn at Circular Ruin Studios in Brooklyn, the collection's four pieces capture McDowall at his most elevated and elusive, in thrall to "the ineffable - that which refuses to be spoken." McDowall's palette here is unusually eclectic, sourced from a dynamic orchestral ensemble arranged by Brent Arnold and comprised of cello, viola, violin, harp (Marilu Donovan of LEYA), and french horn. Ebbing between shrouded electronics and enigmatic, sometimes spectralist orchestration, the album moves with a seething, simmering energy, surging into elegant, uneasy crescendos. The first two pieces are inspired by a liberatory hijacking and inversion of a grim biblical story (and by a cryptic and strange UK simple syrup branding). Opener "Out of Strength Comes Sweetness" shivers with short echo and resonant pads, before shifting into the album's centerpiece: the 14-minute saga "And Lions Will Sing with Joy." A murmuring electrical storm of keening strings and disorienting drones gradually grows darker and denser, until suddenly there's a crack in the clouds, revealing mutated choral voices and sparkling harp. McDowall describes the track as "an incantation to help usher in a break, and a new beginning." The record's latter half evokes a deep untamed animism shot through with spiraling radiance. "In Wound and Water" sways with harp, plucked strings and eerie cello undertows while lush layers of disorientated electronics hang in the dusk. There is no resolution, only a faint gradient of fragile dissipation, leading into the album's harrowing and climactic closer, "A Dream of a Cartographic Membrane Dissolves." Processed voices (credited on the liner notes to "The Ghosts Who Refuse to Rest") contort, whisper, and gather as the rest of the ensemble sharpens, poising to strike. Then it does - grand, tragic stabs of strings and horns lashing the sky, storming heaven by force. The fallout is poetic and inevitable, raining embers into a dark sea. But the journey and catharsis of A Thread linger long after it goes silent. Like so much of McDowall's multifaceted catalog, this is music of immanence and alchemy, attuned equally to the sacred and the profane, to the tile and the mosaic.

Cassandra Jenkins ist ganz einfach eine der besten Songwriter-Geschichtenerzählerinnen, die derzeit Musik machen. Sie gehört zu den großen amerikanischen Songwritern, zu Künstlern wie David Berman, Adrianne Lenker, Jeff Tweedy und Sufjan Stevens. Es sind Künstler, die durch ein Gefühl der Unmittelbarkeit verbunden sind, nicht nur durch ihre Texte - die präzise, aufrüttelnd, manchmal brutal und im richtigen Moment witzig sind -, sondern auch durch die Art und Weise, wie sie singen, mit einer tiefgehenden, totalen Überzeugung, die einen durch ihre Lieder trägt. Das sind die Künstler und Lieder, die sich anschleichen und wirklich für immer mit uns leben, und auf „My Light, My Destroyer“ reiht sich Jenkins in diese Reihe ein. Das Bemerkenswerteste an „My Light, My Destroyer“ ist, dass es eine Künstlerin an einem aufregenden Sprung in ihrer Entwicklung zeigt. Vieles an diesem Album unterscheidet sich von seinen Vorgängern; Field Recordings und Found Sound durchdringen es, erzählerisches Songwriting kracht in berauschende, wirbelnde Kompositionen. Jenkins singt mit einer Stimme, die man nur als Powerwhisper bezeichnen kann (man denke an Sufjan Stevens, Annie Lennox, Margo Timmins oder Tweedy aus der YHF-Ära), ihr Gesang ist nah und intim, aber subtil konfrontativ. Aber hier fühlt sich alles größer an, ausgefeilter, kühner und reichhaltiger als bei ihren früheren Arbeiten. Geboren und aufgewachsen in New York City, ist Jenkins seit ihrer Kindheit auf Tournee und tritt auf. Ihre ersten Aufnahmen veröffentlichte sie im Eigenverlag, bevor sie 2021 ihr bahnbrechendes Album „An Overview auf Phenomenal Nature“ veröffentlichte. Auf „My Light, My Destroyer“ sind viele der Songs bestimmten Gefühlen gewidmet, und es geht darum, sich in diese Gefühle hineinzuversetzen, im Gegensatz zu einem erzählerischen Bogen. Die Leadsingle "Only One" ist ein Beispiel dafür, dass ein Moment oder ein Song völlig kurzsichtig sein kann; er kann ein einzelnes Gefühl verkörpern und bietet keine Antworten. Songs wie "Devotion", "Delphinium Blue", "Clams Casino", "Echo" und "Only One" sprechen von der befreienden Qualität einer fokussierten Beobachtung, selbst bis zum Punkt der Desillusionierung. "Es gibt diese Idee der Desillusionierung, an der ich festgehalten habe", sagt sie. "Ich schätze Desillusionierung als einen Prozess, bei dem man neue, unerwartete Ergebnisse entdeckt. Wir lassen auf diese Weise Erwartungen los. Erwartungen halten uns zurück. Es ist leicht, sich auf Abstumpfung oder Enttäuschung zu konzentrieren, aber ich sehe es eher als Freiheit".

Cassandra Jenkins ist ganz einfach eine der besten Songwriter-Geschichtenerzählerinnen, die derzeit Musik machen. Sie gehört zu den großen amerikanischen Songwritern, zu Künstlern wie David Berman, Adrianne Lenker, Jeff Tweedy und Sufjan Stevens. Es sind Künstler, die durch ein Gefühl der Unmittelbarkeit verbunden sind, nicht nur durch ihre Texte - die präzise, aufrüttelnd, manchmal brutal und im richtigen Moment witzig sind -, sondern auch durch die Art und Weise, wie sie singen, mit einer tiefgehenden, totalen Überzeugung, die einen durch ihre Lieder trägt. Das sind die Künstler und Lieder, die sich anschleichen und wirklich für immer mit uns leben, und auf „My Light, My Destroyer“ reiht sich Jenkins in diese Reihe ein. Das Bemerkenswerteste an „My Light, My Destroyer“ ist, dass es eine Künstlerin an einem aufregenden Sprung in ihrer Entwicklung zeigt. Vieles an diesem Album unterscheidet sich von seinen Vorgängern; Field Recordings und Found Sound durchdringen es, erzählerisches Songwriting kracht in berauschende, wirbelnde Kompositionen. Jenkins singt mit einer Stimme, die man nur als Powerwhisper bezeichnen kann (man denke an Sufjan Stevens, Annie Lennox, Margo Timmins oder Tweedy aus der YHF-Ära), ihr Gesang ist nah und intim, aber subtil konfrontativ. Aber hier fühlt sich alles größer an, ausgefeilter, kühner und reichhaltiger als bei ihren früheren Arbeiten. Geboren und aufgewachsen in New York City, ist Jenkins seit ihrer Kindheit auf Tournee und tritt auf. Ihre ersten Aufnahmen veröffentlichte sie im Eigenverlag, bevor sie 2021 ihr bahnbrechendes Album „An Overview auf Phenomenal Nature“ veröffentlichte. Auf „My Light, My Destroyer“ sind viele der Songs bestimmten Gefühlen gewidmet, und es geht darum, sich in diese Gefühle hineinzuversetzen, im Gegensatz zu einem erzählerischen Bogen. Die Leadsingle "Only One" ist ein Beispiel dafür, dass ein Moment oder ein Song völlig kurzsichtig sein kann; er kann ein einzelnes Gefühl verkörpern und bietet keine Antworten. Songs wie "Devotion", "Delphinium Blue", "Clams Casino", "Echo" und "Only One" sprechen von der befreienden Qualität einer fokussierten Beobachtung, selbst bis zum Punkt der Desillusionierung. "Es gibt diese Idee der Desillusionierung, an der ich festgehalten habe", sagt sie. "Ich schätze Desillusionierung als einen Prozess, bei dem man neue, unerwartete Ergebnisse entdeckt. Wir lassen auf diese Weise Erwartungen los. Erwartungen halten uns zurück. Es ist leicht, sich auf Abstumpfung oder Enttäuschung zu konzentrieren, aber ich sehe es eher als Freiheit".

Intangible Records presents The Seven Grand Housing Authority aka Terrence Parker - The Question incl. Underground Resistance & Octave One remixes!!!
This release came originally out on Simply Soul in 1993.
Don't miss this classic. Highy recommended!

Mit "Tarantino Sound" startet man eine Reise in das unnachahmliche musikalische Universum des Kult-Regisseurs.

Things are getting better is a bold statement to make in a time when the world seems to be on the verge of world war 3 and the cost of living is rising beyond most of our reach. Five years ago when I started the Voices of Creation with Jack I knew the world would need new songs, new mantras and prayers for this new day that is dawning. We would need more faith, we would need love, we would need vision, and we would need each other. A part of every beginning is an ending, this is an observable law of nature. So it is with unyielding faith and a hopeful heart that I look out at this world and find reasons and ways to keep moving forward with love; making music that echoes with the sparks of this new world I’m working to see come into view. Things may be falling apart, old ways of being becoming unsustainable; death, war, chaos, genocide, famine, and floods; symptoms of the internal combustion of a society wracked with fear and given more access to weapons than to their own feelings.

This collection of songs are my testimony in a way, a sonic exploration of finding my faith and figuring out how to use my faith to navigate life and this great big old world after losing family (my mother Betty and my brother Keith) and in a way losing my sense of hope for what my future could even be. Through the writing and singing of these songs I healed myself of the doubt and mistrust of the unknown. I found a way to forge my faith into what is now a mighty sword of song, community, and ministry with the intention of healing myself and others. I’ve always felt as though melody and language were tools that could be agents of change and healing if used with intention and integrity. To witness the expanding joy and shared purpose grow within the choir and to see the contagious nature of faith and togetherness through our rehearsals and shows showed me how necessary it is to the human experience. This has been truly revelatory, further anchoring me in what I feel my purpose is on the planet; and that is to sing and bring to life more joy, peace, love, community, unity, faith, and praise. With more of those energies flowing around the planet, things will surely get better and better and better…ad infinitum. Word to Nina, Jimmy & Betty, and all my angels and ancestors riding wit me. We still here and God is still good.

"An artist's duty, as far as I'm concerned, is to reflect the times." Nina Simone

Pleasure Planet’s kaleidoscopic debut album has been a long time coming, but good things come to those who wait. Developed over years of late-night studio improvisations, ‘Pleasure Planet’ is an affectionate and colorful patchwork of the New York City-based trio’s knotted influences that’s suspended between the rave and the chill-out room, weaving glistening pads and chunky basslines into vocal earworms and warm, saturated rhythmic cycles. Bandmates Andrew Potter, Kim Ann Foxman and Brian Hersey enter into a lysergic dialog with their discrete personal musical histories, drawing inspiration from vintage EBM, ambient music and heady early ’90s West Coast rave sounds and launching these classic elements into a transcendent new sonic universe.

Celebrated DJ and producer Foxman was a lead singer of Hercules and Love Affair when she first ran into DC rave veteran Potter, and the two rapidly realized their musical interests overlapped. So when Potter was recording with his studiomate Hersey, a NYC underground club scene mainstay, and they needed to bring in a vocalist, the choice was simple. Working together was a refreshing, freeing experience for the three seasoned artists, and the more they experimented, the closer they became; Foxman ended up moving into the studio, and Pleasure Planet was manifested into existence. “We’re like family,” says Potter. “We’re always on the same page – we couldn’t make this music solo.”

For Foxman, the open-ended jam sessions provided her with a chance to try something new, a few steps from the dancefloor-forward DJ tracks she’s best known for producing. And as the trio pooled their adolescent rave memories, reflecting on them with more mature ears, they began to develop the signature sound that was first heard on the Throne Of Blood-released ‘Animals’ 12″. Pleasure Planet aren’t trying to re-capture the past, but suggest a poetic contemplation that layers their recollections and musical obsessions into a hypnotic sci-fi dream. Harnessing a self-described “Aladdin’s cave” of analog and digital gear that help galvanize the timeline, they bridge the gap between avant-pop and icy bleep techno, curving suggestive words through lattices of tightly-engineered electronics.

On ‘Endless’, Foxman’s voice is echoed into a glistening haze that hovers around ethereal pads and tense, electroid pulses. Slow-moving and evocative, it’s a track that capture the open endedness of post-rave euphoria, touching the afterparty but moving far beyond the material world. She’s more recognizable on ‘Alien’, the album’s most upfront track, singing in a glassy, upper-register coo over urgent bass bumps, taut guitars and florid electronic atmospheres. “Are you an alien, or are you an angel?” she asks, fractalizing the borders between genres. And the band’s sense of cosmic togetherness bubbles to the surface on ‘Saved by the Bells’, a meditative after-hours experiment that diminishes the pulsing beats for a moment to bring out a spectrum of interconnected, serpentine melodies.

Modular bleeps and echoing percussion anchor the swooning ‘Planet Love’, one of Pleasure Planet’s most recent compositions and one of the album’s most outwardly psychedelic cuts, while the urgent and anthemic ‘Go With Madness’ steps back towards the main stage, evaporating Foxman’s memorable calls into a thumping procession of analog drums and squelchy, acidic bass tweaks. But they save the best for last, tugging at the heartstrings with ‘Remember (In Dreams)’, a giddy spiral of blipping synth arpeggios and haunting, reverberated chorals. It’s the perfect way to conclude an album that cryptically gestures towards the vulnerability of friendship, celebrating the shared experiences that result in some of the most meaningful memories of all.

Roy Porter was approaching 50 years of age at the time when he released his first album, breaking a long period of silence and aiming for a comeback. The album is a hot one, with a superb sense of rhythm and vigorous drumming that clearly conveys his ambitious attitude. It is also his most expensive album, with the original selling for over $1000. The album includes 'Jessica', one of his best-known songs, which he wrote for his girlfriend, a long jazz-funk song with a melody of indescribable melancholy and colour, 'Funky Twitch', with its percussive beat and lush horns & guitar, and 'Wave', which quotes a phrase from Jobim's classic song 'Wave'. The LP comes on clear yellow vinyl, plus a 7" featuring a Kenny Dope re-edit of 'Jessica'!

"The Remedy," is I G Culture's latest album under Likwid Continutal Space Motion, Culture draws parallels between the complex world of fungi and London's Underground dance music scene. Both are intricate networks that thrive beneath the surface, connecting diverse elements and influencing one another. The London dance music scene, like fungi, encompasses a variety of styles and genres, from drum and bass to Garage Dance Subcultures may go unnoticed to the casual observer but are musical corner stones in our society. Dance floors and clubs serve as spaces for communal healing, allowing people to let go of daily stresses and connect through music and dance. I G Culture's "The Remedy" celebrates this vibrant underground culture and highlights the interconnectedness of all musical styles. Through his innovative production and thematic depth, he underscores the transformative power of dance music, emphasizing its role in promoting well-being and unity. The idea of Fungi also is expressed in the artwork by Amsterdams 'Machine' with IG's direction, who used fungi in an original collage revealing a secret world.

The Entertainers, a South Carolina soul band led by singer Earl Dukins, released their first single 'Livin' For The Summer' in 1980, which became a smash hit, and their first album in 1983. The band's first album, released in 1983, was reissued for the first time with an obi. The album features a selection of well-chosen covers, including Chai Lights' 'Hot On A Thang', Bobby Patterson's 'I'm in love with you', Turley Richards' 'I won't cry anymore' and 'What are we gonna do', as well as the aforementioned 'Livin' For The Summer', the gorgeous string-tinged middle tune 'I'm Leavin' and original songs, all of which are full of modern soul with an exhilarating blue-eyed soul - AOR feel!

Banging and creative dark Hardcore.
With a solid Doom background, stepping our of the style... A bit like the Nuklear.
North France Hardcore for more Digital Cunt Power !

2024 Re-Release
Newly formed archival label Fresh Hold presents one of Australia’s most mysterious jazz long players - Singing Dust, in collaboration with Efficient Space. Almost bound for obscurity from its inception, the eponymous creation of Queensland-based jazz pianist Robert Welsh was originally issued in 1986 on Melbourne independent label Cleopatra Records. Rich in compositional sophistication and expressive performance, Singing Dust resembles a unique fusion of Indian devotional song, the jazz piano styles of Bill Evans and Keith Jarrett, English folk and Debussey’s tonal impressions, bearing little similarity to the dominant commercial and subcultural music of its time.

Representing a culmination of Welsh’s influences in and outside of music, the dynamic collection of seven compositions accompany the Ghazal devotional poems translated by Australian poet Francis Brabazon. While Singing Dust sits loosely within the spheres of exploration that many jazz players took into world fusion in the '80s, it stands alone in its bright searing light of truth, love and austerity.

A true work of dedication and posterity that will appeal to many serious music lovers, the album has finally been transferred and remastered from original tapes by Dan Elleson, superseding the imperfect 1986 pressing and fully realising Welsh’s expansive vision.