Search:soul of man

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

Manchester based trumpeter, composer, arranger and producer Matthew Halsall has carved out a unique niche for himself as both a band-leader and producer delving deeply into the worlds of spiritual jazz and string-laden soul.

His latest project finds him playing with and producing the legendary LA jazz singer Dwight Trible, who first came to international renown with his 2005 Ninja Tune release Love Is the Answer. Trible, whose deeply soulful voice has seen him compared to Leon Thomas and Andy Bey, has worked with the likes of Pharoah Sanders, Horace Tapscott and Kamasi Washington (he sings lead vocals on the Epic) and brings a deep-rooted soulfulness to everything that he sings.

Inspirations features some of Dwight Trible and Matthew Halsall's favourite songs including brilliant versions of the timeless Bacharach classic What The World Needs Now Is Love featuring harpist Rachael Gladwin and the Nina Simone smash Feeling Good. A soulful reading of Donny Hathaway and Leroy Hutson's classic Tryin' Times and a heartfelt version of Coltrane's beautiful ballad, Dear Lord, with lyrics by Trible. Other highlights include a vibrant, soulful version of and a beautiful take on They also laid down two spiritual jazz masterpieces, a powerful re-working of Dorothy Ashby's Heaven and Hell (from the legendary The Rubiyat of Dorothy Ashby album) and a spine-tingling reading of the old folk song Black Is The Colour Of My True Love's Hair. Finally the album is rounded out with and the traditional spiritual Deep River and the beautiful standard I Love Paris.


Inspirations is launched with a five date European tour featuring special guest Roger 'Chip' Wickham on saxophones and flute. April 28 & 29 - Duc des Lombards PARIS, April 30 - Flagey BRUSSELS, May 1 & 2 - Ronnie Scott's LONDON, May 4 - Band On The Wall MANCHESTER & May 7 - Funkhaus BERLIN (XJAZZ FESTIVAL).
Reviews and features from Jazzwise, Record Collector, Echoes, Mojo, Now Then Magazine, Blues & Soul, Sunday Times, Lira, Jazzthing (Germany), Nos Magazine, M Magazine and many more.Airplay from Gilles Peterson 6 Music, Jamie Cullum BBC Radio 2, Patrick Forge, Ross Allen, Jazz FM playlist, NDR in Germany, TSF in France and much more
On Line support from Jazz Standard, AllAboutJazz, World Wide FM, Written In Music and much more...

IZIPHO SOUL are thrilled to announce the first 7” single taken from Cornell CC Carter’s highly anticipated album, NEXT LIFE.

The man CC, along with his production team have devoted the past two years to write, produce and sing on no less than thirteen songs for your delectation. 70s / 80s soul and funk influences are inextricably intertwined throughout the album, and we have selected DON’T YOU LOVE IT and REAL for the first vinyl offering. We hope you relish these song choices - mid tempo magic, backed with ballad beauty!

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

The Pineapple Thief, are one of the leading lights of Europe’s experimental rock domain, led by post-progressive mastermind Bruce Soord & reinforced by Gavin Harrison (King Crimson) on drums.
Following the release of their latest studio album ‘Versions Of The Truth’ in September 2020, the band were preparing to start the album’s live campaign, when like so many other artists, their plans were put on hold by the continuing global pandemic.
Eager to still perform & connect with their fans across the globe, in April 2021, The Pineapple Thief filmed an extravagant on demand live event entitled ‘Nothing But The Truth’ directed by band videographer George Laycock (Blacktide Phonic/Visual).
Bruce Soord explains” “The Pineapple Thief is equally about the studio & the stage, so it was hugely disappointing that we were unable to tour, especially as we were excited to be able to perform the
new album ‘Versions Of The Truth’ live for everyone. Being able to do this film, especially under the circumstances, was invaluable. We all knew we did not want to shoot a film of us standing on stage staring at an empty room. We wanted something special, something ‘cinematic’ so we have created something unique & something very, very special that I am proud to have been a part of. I can’t wait for people to hear it.”
Drummer, Gavin Harrison adds “Nothing But The Truth” is a highlight for this band in terms of captured performance.
The Pineapple Thief’s 2018 anthemic release ‘Dissolution’ garnered worldwide acclaim from both media & fans, earning them their first UK Top 40 album, #1 UK Rock & Metal album & #22 on the German album charts. It took them on two extensive sold-out European headline tours & their first ever tour of North America.
‘Versions Of The Truth’ raised the standard yet again by delivering, quite possibly, one of the most important rock albums of 2020.
‘Nothing But The Truth’ captures The Pineapple Thief at their very best performing songs from their illustrious catalogue including for the first time live, songs from ‘Versions Of The Truth’.
The release will coincide with the rescheduled UK & European live shows this autumn & continue into 2022 with more dates to be announced.
The soundtrack to ‘Nothing But The Truth’ will be released on a gatefold black vinyl double LP with an 8-page printed colour booklet.

The making of “I Dreamed of Electric Sheep” was heavily influenced by the situation everyone had to face lately. “We were forced to work under very peculiar circumstances, often interrupting our studio activity because of the lockdown”, says Franz Di Cioccio (lead vocals, drums). The whole process took one year spent mostly working at home, sharing ideas and meeting at Patrick Djivas’ (bass, keyboards) home studio, before the band was able to record the album at White Studios in Milan, Italy. Being the rhythm section Cioccio and Djivas make a perfectly working team. “We both have a great passion for SciFi movies. In the past we watched many of them together. In the case of ‘Blade Runner’ we were hit by the question: Do Androids dream of Electric Sheep? - The world has been changing around us. Computers are taking over and Covid has accelerated the process. However, we strongly believe in the power of people to use their imagination and fantasy. To us this is what really makes the difference between human beings and androids.” The band considers themselves being in a similar place when it comes to music that Impressionists were in when it comes to painting: They didn’t paint fixed somatic traits for their figures with their brush strokes while PFM (Premiata Forneria Marconi) do not consider themselves limited to a specific genre. While the album tells multiple stories they are all linked to passion, love and the power of imagination. As a real treat PMF invited a couple of musicians they have been friends with for a long time: Ian Anderson (Jethro Tull) on flute and Steve Hackett (ex-Genesis) on electric guitar. “I Dreamed of Electric Sheep” is simultaneously released in both English and Italian versions, hence the Italian subtitle, “Ho Sognato Pecore Elettriche". PMF’s “I Dreamed of Electric Sheep” is available in the following formats: Special 2 CD Digipak with O-Card, Gatefold 2LP+2CD & Special LP-Booklet and Digital Album.

Night Church is the second album from London-based band Ghosts Of Our Former Selves. On the new record you can hear the band’s love of soul and funk but also their fascination with synth sounds and classic songwriting.While Marvin and Stevie might be a thread you can pick up, there are shades of Daft Punk, The Police and even Elton John. There is emotion in this record. The four years between first and second albums is bookended by the loss of fathers and the birth of children. In the middle a lot else has happened. While making this album, Theo and producer/band member Fred Ala became obsessed with the classic songs of the 70’s and early 80s and that influenced the way they recorded many of the songs. Mixing the album proved the trickiest part. Singer and lyricist,Theo Brehony, describes the life events behind the songs: “This is like a picture of all the things that have happened since our last release. It started out as an album about the break of a relationship but turned into arecord about redemption, love, starting again, having children, fathers."

House head, soul man and jazz aficionado Envee is back on Local Talk with 'Gotta Work' featuring Nick Sincklair on vocals.
Packed to the rafters with high quality deep and soulful house, Gotta Work has a both the US garage style with an edge and the uplifting sound of a modern track. Trev, a producer bringing some of the freshest sounds in broken beat in recent times delivers two versions, both with ultra-deep bass and wonky time signatures.
Trev can do no wrong.

DeLaChaud is the home and record label of krewcial.

A young veteran in the game, krewcial released solo albums on PlayItAgainSam and UK’s BBE in the early 2000’s. With longtime friend Lefto, he sampled jazz’s greats for a beatdriven album on the legendary Blue Note label. He's also released records on Nervous, Lumberjacks In Hell, We Play House, Mysterious Works, Midnight Riot and GAMM.

krewcial's DJ-sets reflect his broad musical tastes: centered around disco and house and adding touches of latin, funk, boogie, hiphop classics and afrobeat anthems into the mix. As long as it’s soulful and keeps the dancefloor in motion, there’s a chance he’ll play it. He has shared decks with disco legend John Morales, Marcel Vogel, Mr Mendel, Lefto, DJ Suspect, Mr. Leenknecht and opened for Hiatus Kaiyote, Sergio Mendez, Angie Stone, Cassandra Wilson, Common, Jill Scott, and many many more.

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

THE CHARLATANS proudly announce their (Covid) delayed release of their 30th Anniversary tour and a career spanning best of entitled “A Head Full of Ideas’ Released on Then Recordings through Republic Of Music. ‘A Head Full of Ideas’ sums up their remarkable progress from 1990 Manchester scene hopefuls to one of the UK’s most enduring and best-loved bands. The accompanying tour begins at Belfast, Limelight 22/11/21 and finishes in Aberdeen on 20/12/21.

The band have notched up 13 Top 40 studio albums - three of them number ones - alongside 22 hit singles, four of them top 10. The rollercoaster highs have been accompanied by some shattering lows, any which one of them could have felled a less resilient band, from nervous breakdowns to near bankruptcy and the deaths of two founder members.

Somehow, they have not just carried on but adapted and transformed. The classic Charlatans sound - driving Hammond organ, Northern Soul and house-influenced rhythms, swaggering guitars and Tim Burgess’s sunny yet somehow yearning vocal - is instantly recognisable. And in spite of everything they have been through their music is now more relevant than ever, The Guardian described their last album, Different Days as “one of their best ever”.

As well as a very limited 6 Vinyl box set, there will also be Limited Coloured Triple vinyl LP version and 2CD deluxe of the box set featuring the hits albums plus a bonus live album ‘Trust is For Believers’, and finally a CD or Double LP Vinyl of just the hits albums.

THE CHARLATANS proudly announce their (Covid) delayed release of their 30th Anniversary tour and a career spanning best of entitled “A Head Full of Ideas’ Released on Then Recordings through Republic Of Music. ‘A Head Full of Ideas’ sums up their remarkable progress from 1990 Manchester scene hopefuls to one of the UK’s most enduring and best-loved bands. The accompanying tour begins at Belfast, Limelight 22/11/21 and finishes in Aberdeen on 20/12/21.

The band have notched up 13 Top 40 studio albums - three of them number ones - alongside 22 hit singles, four of them top 10. The rollercoaster highs have been accompanied by some shattering lows, any which one of them could have felled a less resilient band, from nervous breakdowns to near bankruptcy and the deaths of two founder members.

Somehow, they have not just carried on but adapted and transformed. The classic Charlatans sound - driving Hammond organ, Northern Soul and house-influenced rhythms, swaggering guitars and Tim Burgess’s sunny yet somehow yearning vocal - is instantly recognisable. And in spite of everything they have been through their music is now more relevant than ever, The Guardian described their last album, Different Days as “one of their best ever”.

As well as a very limited 6 Vinyl box set, there will also be Limited Coloured Triple vinyl LP version and 2CD deluxe of the box set featuring the hits albums plus a bonus live album ‘Trust is For Believers’, and finally a CD or Double LP Vinyl of just the hits albums.

On the fringe of the indie Rust Belt scene since the 1990s,
Moviola has quietly forged a low-key career of high-quality
recorded output over twenty-five years, issuing ten (!) records
and countless 7-inch singles (including splits with Cobra Verde,
Hiss Golden Messenger, Handsome Family and many others).
In this artistic continuum, the band has evolved from everything
from 4-track fuzz to hi-fi country soul. Today, the band steps
forward with Broken Rainbows, its strongest collection of songs
to date, written, recorded, and mixed inside the group’s HQ in
Columbus.
Jake Housh started Moviola in 1993 as a student at “The”
Ohio State University as a noisy, fuzzed out lo-fi noisemakers.
Over the years, the band has morphed into a unique DIY
music and art-making collective with five distinct singers and
songwriters, recalling the creatively democratic lineage of The
Mekons, The Band, Pink Floyd, many others. Moviola is Jake
Housh, Ted Hattemer (Thomas Jefferson Slave Apartments),
Scotty Tabachnick, Greg Bonnell, and Jerry Dannemiller.
Broken Rainbows is a milestone release, showcasing a band
newly energized and assured in its artistry, and supportive of its
members’ songcraft. The eleven-song album hovers over a plot
of ground that’s optimistic in its despair. Album topics range
from the personal to the political, showcasing each member’s
unique songwriting within an overall cohesive band aesthetic.
“Moviola was one of those groups I met early on back in the day
that showed me how to do it. Broken Rainbows is a highlight—
pastoral thumpers, fuzzy indie radness, hooks to spare, pretty
much all the good stuff. Feels like a glorious drive from one
disparate end of Ohio to another. I love this band.”
—Eric Johnson (Fruit Bats)

THE CHARLATANS proudly announce their (Covid) delayed release of their 30th Anniversary tour and a career spanning best of entitled “A Head Full of Ideas’ Released on Then Recordings through Republic Of Music. ‘A Head Full of Ideas’ sums up their remarkable progress from 1990 Manchester scene hopefuls to one of the UK’s most enduring and best-loved bands. The accompanying tour begins at Belfast, Limelight 22/11/21 and finishes in Aberdeen on 20/12/21.

The band have notched up 13 Top 40 studio albums - three of them number ones - alongside 22 hit singles, four of them top 10. The rollercoaster highs have been accompanied by some shattering lows, any which one of them could have felled a less resilient band, from nervous breakdowns to near bankruptcy and the deaths of two founder members.

Somehow, they have not just carried on but adapted and transformed. The classic Charlatans sound - driving Hammond organ, Northern Soul and house-influenced rhythms, swaggering guitars and Tim Burgess’s sunny yet somehow yearning vocal - is instantly recognisable. And in spite of everything they have been through their music is now more relevant than ever, The Guardian described their last album, Different Days as “one of their best ever”.

As well as a very limited 6 Vinyl box set, there will also be Limited Coloured Triple vinyl LP version and 2CD deluxe of the box set featuring the hits albums plus a bonus live album ‘Trust is For Believers’, and finally a CD or Double LP Vinyl of just the hits albums.

LP pressed exclusively for National Album Day 2021 on gold vinyl in
single-pocket jacket with custom dust sleeve and digital download
coupon.
 Through ‘Titanic Rising’, Weyes Blood, aka Natalie Mering, has
designed her own universe to soulfully navigate life’s mysteries.
Manoeuvring through a space time continuum, she plays the role of
melodic, sometimes melancholic, anthropologist.
 Tellingly, Mering classifies ‘Titanic Rising’ - written and recorded during
the first half of 2018, after three albums and years of touring - as The
Kinks meeting WWII or Bob Seger meets Enya. The latter captures the
album’s wilful expansiveness (“You can tell there’s not a guy pulling the
strings in Enya’s studio,” she notes, admiringly). The former relays her
imperative to connect with listeners. “The clarity of Bob Seger is
unmistakable. I’m a big fan of conversational songwriting,” she adds. “I
just try to do that in a way that uses abstract imagery as well.”
 The Weyes Blood frontwoman grew up singing in gospel and madrigal
choirs. (Listen closely to ‘Titanic Rising’ and you’ll also hear the jazz of
Hoagy Carmichael mingle with the artful mysticism of Alejandro
Jodorowsky and the monomyth of scholar Joseph Campbell.)
‘Something To Believe’, a confessional that makes judicious use of the
slide guitar, touches on that cosmological upbringing. “Belief is
something all humans need. Shared myths are part of our psychology
and survival,” she says. “Now we have a weird mishmash of capitalism
and movies and science. There have been moments where I felt very
existential and lost.”
 As a kid, she filled that void with ‘Titanic’. (Yes, the movie.) “It was
engineered for little girls and had its own mythology,” she explains.
Mering also noticed that the blockbuster romance actually offered a story
about loss born of man’s hubris. “It’s so symbolic that The Titanic would
crash into an iceberg, and now that iceberg is melting, sinking
civilization.” Today, this hubris also extends to the relentless adoption of
technology, at the expense of both happiness and attention spans.
 But Weyes Blood isn’t one to stew. Her observations play out in an
ethereal saunter: far more meditative than cynical. To Mering, listening
and thinking are concurrent experiences. “There are complicated
influences mixed in with more relatable nostalgic melodies,” she says.
“In my mind my music feels so big, a true production. I’m not a huge,
popular artist, but I feel like one when I’m in the studio. But it’s never
taking away from the music. I’m just making a bigger space for myself.”

Sony Classical release - sensational double album by one of the world’s most accomplished film composers. This stunning album sees Hans Zimmer arrange some of his most successful and recognisable compositions into electrifying concert suites for orchestra, choir and an impressive list of soloists. Recorded in the prestigious Wiener Konzerthaus, the album features the renowned Vienna Radio Symphony Orchestra and the Neue Wiener Stimmen choir under the baton of award winning conductor Martin Gellner. Included in the album are some of Zimmer’s most popular hits: The Dark Knight, Inception, Lion King, Pirates Of The Caribbean, The Da Vinci Code and many more. Specialist marketing activity. The double CD format is released March 15th and 3 LP set is released March 29th.

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

"WHAT THEN?" is the second album from Irish singer-storyteller David Keenan. The follow-up to his critically acclaimed 2019 debut "A Beginner's Guide To Bravery", which charted at Number One on the official Irish independent album charts, and Top 10 on the national album charts. It was also one of the best selling vinyl album releases by an Irish artist of 2019. At the end of 2019, David Keenan premiered his concert film 'Alchemy & Prose' at the London Doc'N'Roll film festival. "WHAT THEN?" has been produced by Jonathon Mooney of Portland, OR cinematic-indie rockers Other Lives. Guests on the album include celebrated Scottish author, namesake and soul brother David Keenan, Irish poet Stephen Murphy and Nashville drummer Aaron Steele, best known for his work with Portugal. The Man and Hayley Williams. David Keenan will be touring America in September as special guest of Rodrigo y Gabriela before returning to Europe to headline his own tour through October to December.

The raucous, multi-song tale of a young man bitten by the blues bug.
A striking collection of songs tell the story in vivid lyrics brought to life by
Castro’s patented roadhouse rock, soulful ballads and deep,
greasy grooves.

The Override Switch combines the talent of two Detroit natives: Jeff Mills and Rafael Leafar. The latter is a multi-instrumentalist with a strong affiliation to jazz music. Through Mike Banks, he was introduced to Jeff Mills, where the idea for The Override Switch began to manifest. The album is a homage to artists like John Coltrane, J Dilla, Kraftwerk and those who inspire experimentation with what can be evoked through music.

Toolroom founder and Grammy-nominated producer Mark Knight announces his new album Untold Business: 13-track collection of vocal house music which aims to inject a much-needed dose of meaning and longevity into the world of dance music.

Mark Knight has gone back to his roots on his new album Untold Business, reprising the sounds and records that made him the artist he is today. Diving through his extensive collection of classic Funk, House, Soul and Disco records from the 1970s and 80s has provided the bedrock for the album, which is an homage to the soulful, vocal-led house music that Mark first fell in love with in the 90s.

Step forward Mark Knight with a collection of meticulously crafted, positive, life-affirming records with a focus on real instrumentation and properly crafted songs that will stand the test of time. Untold Business is the antithesis of the functional, cookie-cutter dance music that has become increasingly ubiquitous over the years, and it sounds absolutely glorious.

Lead single ‘Everything’s Gonna Be Alright’ features vocals from Beverley Knight as well as the London Community Gospel Choir, who together bring a powerful message of positivity, solidarity and hope: themes that echo throughout the rest of the album.

“I wanted to write a song of hope as we come out of this incredibly tough time. I feel that musicians and producers have a responsibility to provide the soundtrack to people’s lives, and with this glimmer of hope on the horizon, I wanted this song to be a moment of positivity for the future ahead.” Mark Knight

From the string section, to the 14-piece London Community Gospel Choir, to the incomparably brilliant Beverley Knight on lead vocals – Mark worked with some incredible musicians on the single: an approach that informs his approach for the entire album. Untold Business features further collaborations with the likes of Shingai (Noisettes), Michael Gray, Robert Owens and many more.

In addition to the 10 new tracks recorded especially for the album, Untold Business also includes three of Mark’s singles from 2020, including one of the biggest releases of his career to date. All 4 Love was a collaboration with Rene Amesz and Tasty Lopez which became firmly lodged on the Radio 1 A list for six weeks with worldwide success following soon after. Picking up more than 10 million streams on Spotify it was without doubt one of the biggest house records of the year. Also included here are ‘If It’s Love’ - a joyous celebration of a soulful house sound that came to prominence in the 90s – and ‘Tonight’, which took inspiration from the brisk, looping, filtered house music of the early 00s.

Saxophonist Wendell Harrison has lived by a standard philosophy for his 50-plus-year career: One must have complete self-autonomy. Both his music and business dealings reflect this. Besides being a legend on the Detroit jazz scene and mentoring up-and-coming musicians through his non-profit organization Rebirth Inc., he co-founded the Tribe Records label in the 1970s, which produced a magazine and many classic albums.

Harrison is continuing Tribe’s legacy—this time around with a group of rising jazz musicians from the Motor City such as drummer Louis M. Jones III, trumpeter Trunino Lowe, and guitarist Jacob Schwantz—on his new recording Get Up Off Your Knees.

There’s a lot to digest here because the original compositions encompass R&B, soul, spoken word, and “world” music, all seen through the lens of jazz. Harrison tends to weave elements of African music into many of his compositions. On “Siera” and “Samoulén Khalé Yi,” both written by vocalist and bassist Pathe Jassi, he pays tribute to Guinea-Bissau and Senegalese culture. “Educators” also has African nuances in its hardcore drumming and Harrison’s sublime blowing on bass clarinet and clarinet.

Any discriminating jazz listener will be consumed by Get Up Off Your Knees, but it seems Harrison’s primary purpose for making this album is to encourage the current generation to put education first and build social awareness. On the title track, vocalist Miche Braden pushes the self-determination angle, which is again highlighted on “Revolution,” a reimagined take on Gil Scott-Heron’s “The Revolution Will Not Be Televised” delivered with an adherence to contemporary events by the poet Rev. Mbiyu Chui. By Veronica Johnson from Jazz Times.

Truly, the luscious, soulful new album from Manchester singer-songwriter Caoilfhionn Rose (pronounced Keelin) moves through a tapestry of curious musical inflections; nods towards folk, jazz, ambient, electronica and even a subtle influence of psychedelia, it never stands still to take a breath, despite its ethereal and delicate core. Out April 9th on Gondwana Records (Mammal Hands, Portico Quartet, Matthew Halsall, Hania Rani), in Truly, the young singer-songwriter has accomplished a body of work that is both sonically and lyrically wise beyond her years.

Co-produced by Kier Stewart of The Durutti Column following Rose's collaborative endeavours with them on their album Chronicle LX:XL, the musician's song writing draws from a diverse palette of influences, including Building Instrument, Rachel Sermanni, Alabaster dePlume and Broadcast. Rose also professes to a love for beautiful, stripped back, piano based music, such as Dustin O'Halloran and label mate Hania Rani.

Truly came to exist due to a deep-routed need to create – even though its conception was interrupted as Caoilfhionn Rose recovered in hospital from an illness, she found strength within writing music. "In Spring 2019 I took part in a gig swap with my good friend and fellow musician Kristian Harting who is from Denmark. We played several gigs in the UK but unfortunately the Denmark part of the tour was cut short as I was taken ill. I was hospitalised for several weeks and have taken the last year out to recover" says Rose. "I gradually returned to finishing my second album" she continues. "Coming back to creating after being unwell was challenging but also therapeutic. This record marks a difficult time of my life and writing it helped get me through that. I am really grateful to have music as an outlet." It may be this tremendously challenging period that has abetted its characterising qualities.

Rose's beautifully restrained vocal is all at once soothing yet mesmerising. She demands and holds attention through her evident talent yet hypnotises the listener into a trance with her experimental tendencies. "After being unwell, getting back to recording helped me recover my voice after not singing for so long. Finishing bits of songs, writing lyrics and recording vocals helped me get back on my feet and get better."

Lead single from the album – 'Flourish' – is an intoxicating song that meditates on being present in the moment, allowing peace to come to you. "The song 'Flourish' is about looking forwards with hope and possibility, 'let it flow away, let it turn around and flourish'. It's about finding peace and feeling wonder again" says Rose about the track. "'Flourish' hints at the ideas of what could be, how things can unfold if you let go 'and just be here'."

A message of hope is instilled throughout the record, echoed again in 'Fireflies', a song inspired by a campsite in France, which became filled with fireflies at night. "To me 'Fireflies' has a nostalgic and comforting feel. It's about feeling hopeful about the future 'though there may be dark clouds the sun will always come'. There are references to older lyrics I have written. The line 'free from all the chaos' is a nod to a song I collaborated on with The Durutti Column. The song is about acknowledging the past and moving on as 'time is always healing'."

A recurring theme of reflection and being grounded in the present, acknowledging the past and looking forwards with courage is one that envelopes 'Truly', and is something that is echoed in its beautiful swelling flourishes and its tranquillity – resonating with atmosphere, the album all at once sounds so large and yet so subdued. "The line on Every Waking Minute; 'we forget what lies behind the eyes' is about remembering that everyone has their own things going on and challenges to face but we should 'feel every waking minute', become aware of what's unfolding around us outside of our own stories. It's a self-reflective song really, reminding myself that 'life can take you bysurprise', there are going to be ups and downs along the way"

Elsewhere on the album, Rose explores the connection between nature and life on single To Me. "I love going on long walks and the healing power of nature is a recurring theme in a lot of my lyrics. I have a very optimistic outlook and I find solace in the small things like being outdoors."

Caoilfhionn's debut Awaken, co-produced with label mate Matthew Halsall, saw the singer, songwriter and producer tie together remnants of Manchester's musical past with its evolving present. Prior to this, the artist collaborated with one of her biggest musical influences, Vini Reilly of The Durutti Column. The musician worked with the Manchester band on four songs on their album Chronicle LX:XL. "I've learnt a lot from collaborating with musicians like Vini Reilly, Matthew Halsall and my bandmates" says Rose. "This is reflected in my current style and approach to making music. I no longer just write as a therapeutic or reflective process; I can write more abstractly and outwardly."

Kier Stewart of The Durutti Column co-produced her latest offering, Truly, following his band's collaborations with Rose. "I befriended Kier after we worked together. Collaborating with The Durutti Column was my first experience of recording music with other people in a studio." Together, the pair have created something expansive yet fragile – and altogether unique. "He's brought so much to this project" she says. "I feel Keir has brought out the best in the songs, adding really intricate and subtle details and effects. It was inspiring getting to work with Keir and I've learnt a lot from his approach of just experimenting and seeing what works."

Yep people, you’ve got us right. While many of us are still looking for traces of lizard people wandering over a flat earth, your favourite producer’s favourite producer has already boarded his space vehicle in the direction of moon, closely observing our mediocre attempts to enrich our earthly existence.
Magician Jichael Mackson opens his bag, presenting the signature sound he’s so famous and respected for. Deep and bass driven grooves, perfectly layered on top of each other like damask steel. In order to enjoy this masterpiece, we recommend to snort a big line of that “Digital Dust”.
“Family Biz” is taking a more laidback and broken beat direction. Dense percussions, intricate harmonies and a lot of soul and jazz vibes are hidden in this gem. Best to be discovered with your friends and loved ones on a sunny day beneath a shady tree, enjoying a couple of glasses while waiting for the sunset. Geez, this is so damn gorgeous.
“ATH” ends this formidable EP. Again, no club inspired vibes (cos clubs are closed anyway, right?) pulsating out Mackson’s snyths, instead a more abstract broken beat crawling into our ears. Eerie sound modulations and creepy acid - lovers of DJ Krush’s older works might fall in love with this.

The Cool Feedback Quartet’s music is quite similar to a philharmonic orchestra manipulating new material:
feedback, or in other words, the unexpected beauty of sound when it is let loose. Becoming its master so as to make the
best use of it, like a new instrument, the guitar pick up plays again on request. Harmonizing sounds like a string section
gone wild would, like light piercing through ether, tearing up the background and taking us for good to unknown territory.
The bandleader, Grégoire Garrigues, who first got the idea of the concept and got the ball to roll, is a well-known and
respected French guitarist.

Soul Deep Recordings is turning 10 Years old!! To help celebrate this monumental accomplishment, a 10 Year Anniversary LP has been put together, starting with this stunning eight-track vinyl sampler. The sampler includes songs from some of the scene's most influential artists such as Madcap, Paul SG, Blade, Furney, Decon, Dramatic, and many more. With this collection of talented artists, the release is destined to be an instant classic.

Soul Deep would like to thank all of the artists and fans of the label for your support over the last ten years. Without your support, Soul Deep has been able to pursue our mission of pushing soulful Drum & Bass music to new heights. A special thanks goes out to the artists who supplied songs for the 10 Year Anniversary Release! The vinyl sampler will be followed up with 2 albums, which will be released shortly after the vinyl sampler drops. Help us start the celebration by checking out this release, and get your copy before they're all gone. Thanks again for your support!! Looking forward to another 10 years!

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

Released via Columbia Records in the UK, 'Respect' is a 2021 American biographical musical drama film based on the life of American soulk legend Aretha Franklin. Directed by Liesl Tommy (in her feature directorial debut) from a screenplay written by Tracey Scott Wilson, the film stars Jennifer Hudson as Franklin. Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, and Mary J. Blige are featured in supporting roles. The CD was released in mid August. This is the 21 track double vinyl format with songs featured in the film, including one new original track produced by Will I Am. Continued promo/marketing activity across all media outlets (for both film and soundtrack).

The Quest is the latest studio album from legendary progressive rock band Yes, and their first for new label home InsideOutMusic. Produced by Steve Howe, and featuring the line-up of Howe, Alan White, Geoff Downes, Jon Davison & Billy Sherwood, this stunning new record sees the band demonstrating why they are still such a revered group of musicians.

The Quest is the latest studio album from legendary progressive rock band Yes, and their first for new label home InsideOutMusic. Produced by Steve Howe, and featuring the line-up of Howe, Alan White, Geoff Downes, Jon Davison & Billy Sherwood, this stunning new record sees the band demonstrating why they are still such a revered group of musicians.

Full LP of new, original holiday music featuring members of Durand Jones & The Indications and The Dap-Kings. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Ironsides, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Atlantic's "Soul Christmas", Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace" this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general! This is Kelly Finnigan's third full-album production in just under two years, including his debut LP "The Tales People Tell" and Monophonics' most recent effort "It's Only Us". He is rapidly establishing himself as a key producer, songwriter, and performer in the current soul scene.

Repress of the funky instrumental 45 by The Soul Investigators featuring Jimi Tenor!

For those into sounds from the deep dungeons of the soul jazz underground, the 2nd quarter of 2015 looks promising. Out of its mist come The Soul Investigators in a slick red convertible, featuring a mean flautist riding shotgun, a position we Finns like to call the seat for those in fear. The velvet smooth winds emanate from none other than Jimi Tenor, a person some might even describe as a renaissance man.

The sufficiently psychedelic jazzier exercise "Vulture's Prayer" should get your mind wondering into a turn of the 70's London, featuring a hippie gone bad, smacked out in furs in a hedonistic basement bacchanal, just before discovering himself at the opening desert scene of the "Holy Mountain". Flipping the disc over to "Bad Vibrations" we find ourself in a more funkier urban setting, possibly at a Yusuf Lateef inspired bar session in Chicago's South Side. Don't know, why they call them bad, because they sound so good. Better get yourself a slice and why not even a second helping.

During the production of two singles (This being the first) unfortunately William Stuckey passed away, below are some words from my partner in the project Brian Sears regarding our work with him pm his LP.

Brian Sears - I'm not one that likes to write but I wanted to say a few things about William Stuckey. William Stuckey passed away last in August 2021 at age 73, and is an artist that I've been working with since last summer. He was a key fixture in the Little Rock music scene and most notably was one of the driving forces behind the legendary True Soul label. Lee Anthony, the owner of True Soul Records, once told me that William Stuckey was the most talented musician he had ever worked with, and if you know anything about that label or Lee Anthony, that's quite a compliment.


When I reached out to William last summer about re-releasing his material, he ignored my calls and messages. Fortunately, I was able to reach his son, Erreyon who was kind enough to listen to me. I've worked a lot of terrible sales gigs in my past and "getting to the point" is sometimes a hard thing to achieve, especially when you're trying to talk about the music business and music that's 50 years old. But the point was simple, his music matters and deserved to be preserved. This resonated with William and Erreyon and they gave Euan Fryer and myself a chance.There was a memorable handoff of the master tapes in a parking lot and from that point forward I knew William Stuckey trusted me. Trust is something he had to do a lot in his life due to the fact that he was visually impaired and I'm thankful he trusted us. As I wrote before, there was a long process of transferring the tapes, but it was successful, and the album has never sounded so good. William had incredible hearing and was able to pick out details most might not detect. He was gifted and that shined through his own playing and voice through copious recordings. Speaking with him after he finally heard the newly remastered album, the way he had intended for it to sound, is something I'll never forget. Moments like that are really the reason why I feel so compelled to work with older musicians that didn't get a fair shake the first time.

Meeting William Stuckey face to face earlier this summer was one of the highlights of my year. We laughed and hung out at his place where he had lived for the past 50 years. I told him his music was internationally known and the re-release was well received. He was humble and felt like a long lost friend that I hadn't seen in a long time. I'll never forget that. I told him I wanted to take some photos, and I'm so glad I did.We had a good time and it was a beautiful summer night and as I left his place his neighbours noticed me walking to my car and wanted to chat, so we talked briefly and it ultimately lead to one of them getting into their car and cranking "The First Time" on the stereo system in their driveway. I wasn't sure if Stuckey could hear it from his house, but part of me knew he probably could and hearing his song echo in the background as I drove off and thinking about Stuckey and the time we shared and his music being appreciated by so many, even in that moment, is a wonderful memory. I'd like to think he was smiling.His music and legacy will live on forever.
Rest in peace to a great one.

The Allergies are back with a new album – Rejoice! And the feel-good funk, hip-hop swagger, and dusty vintage loops, is everything you need right now.

Across the 13 tracks, producers Rackabeat and DJ Moneyshot dig deep into their souls, as well as their record collections, serving up a day-glo blast of super positive sampledelia that'll have you smiling from ear to ear.

Built from scratch during lockdown, each song offers up a world to lose yourself in, free from any and all dark clouds. It's their Promised Land, and everyone is welcome to bask in the sunshine.

Along for the ride is LA rap legend, Andy Cooper Ugly Duckling, soul sensation Marietta Smith, dance music heavyweight, Dynamite MC, and the unmistakable voice of hip-hop royalty, Lyrics Born.

Everyone got the memo, as career-best performances roll one after the other. And each singer, rapper, scratcher, and sampler, unites through the power of good good music.

Highlights on the LP include the swamp blues meets half-time hip-hop monster, 'Lean On You'. The Latin funk bomb, 'Move On Baby'. Soul rollers 'New Thing' and 'Are You Ready', and the show-stopping and stirring Moby-ish beat banger, 'Promised Land'.

Almost a concept album, the idea of fresh starts, strange new worlds, loss, solidarity, freedom, and the communities we find in clubs, festivals, and making and sharing music, began to come out, organically, through the song-writing process.

"In a weird way the album wrote itself," says DJ Moneyshot. "We'd be lost in our own little world of hypnotic loops as days passed, and samples jumped out of the shelves, and just started to make sense as they got chopped and layered into these tracks."

Early support for the singles, and response from fans across the globe, suggests that this, their fifth album, really could be something special. Come on in…

*Repress*

Low Key Source drops a limited edition AA side 7 inch vinyl release featuring tracks by Tall Black Guy x Allysha Joy and Children Of Zeus x Black Milk.

Tall Black Guy’s production for “Sip Of You” has it’s feet firmly planted in the golden era but all the while still managing to sound futuristic and of the moment. Allysha Joy laces the jazz influenced production effortlessly with her own signature soulful vocals, pulling the listener gently in.

On "Won’t End Well" Manchester's Children Of Zeus depicts a neighbourhood entranced by drugs and how good kids seduced by this way of life learn how to become a part of the cycle despite the advice of their parents knowing it won’t end well. Black Milk’s hard kick and crisp snare mimic the darkness surrounding this type of environment in a predatory and cunning manor.

Blind, Chicago soul singer Willie Williams was first discovered performing in clubs in and around the Windy City. He was signed to ABC records by their A&R Director for the Midwest Johnny Pate a former Jazz bassist, independent producer, arranger and songwriter in his own right. Pate was a friend and colleague of fellow musician, songwriter and founding member of one of ABC’s prolific vocal groups The Trends, Tom Dorsey. Pate and Dorsey would contribute heavily as writers and producer throughout Willie’s recording career, beginning with his first ABC 45 release in 1966 “Have You Ever Been Played For A Fool/With All My Soul”. The release’s b-side became a popular radio play at the time with Willie becoming known as Willie “Soul” Williams for a while. Two further ABC releases were to follow “It Doesn’t Pay/Just Because” (1967) and “I’m Through With You/Strung Out” (1968).

Willie’s next 45 release although recorded in Chicago under Johnny Pate’s supervision found it’s way to another major label, RCA, although credited as a GWP Production (Gerrard W. Purcell). The 45 in question being the excellent Tom Dorsey penned songs “Just To Be Loved By You/Name It” released during 1969.

Two Willie Williams 45 releases did appear on the Gamma label but I’m unsure if one or both of these are by the same Willie Williams in question.

Throughout his recording career Willie continued to work the clubs with his own band which was led by his bass guitarist and confidant Bradley (Brad) Bobo a man who featured as a session musician on many recording sessions including the creation of The Notation’s album of the same name for Curtis Mayfield’s Curtom subsidiary label Gemigo.

On the 22nd of December 1970 a recording session was held in RCA’s Studio B, on North Wacker Drive, Chicago with sound engineer Russ Vestuto. The session was financed by Tom Dorsey who amongst other song writing gratuities had been paid handsomely for the 3 songs “Love Machine”, “My Baby’s Love” and “How Are You Fixed For Love” which he had wrote and contributed to the blue-eyed hit group, The O’Kaysion’s “Girl Watcher” ABC album. The result of this session yielded four Willie Williams tracks. Brad Bobo played bass guitar on the session, the composer of the four songs Tom Dorsey supplied the arrangements and Tom’s wife Carolyn (also a former group members of The Trends) joined both he and Brad on backing vocals.

The four songs were then offered to Eddie Thomas who chose two of them to release on a 45 single. The two songs being “Must Mean Love” which was later renamed “The Baa Baa Song “and “Psyched Out” which Eddie then released on his own Lakeside label, thus leaving the two other songs to remain unissued in the can.

Willie has now sadly passed away but in his later life once the opportunity’s for performing artists began to dwindle he chose a different path in his life, gaining a Doctors degree, he went on to become a College Lecturer. Tom Dorsey too turned his back on the music industry apart from his publishing company to concentrate on his family life as well as founding a very successful business involving one of his other great life passions, photography. Luckily for us he never lost the master tape of Willie’s sessions and after several years of tentative enquiries he graciously relented to my request to put them out. So now before you we have the two excellent previously unissued Willie Williams songs that Eddie Thomas passed on, the delightfully soulful “Give It All I Got” backed with the funky, social conscience themed “Do You Understand”, lost early 1970’s Chicago Soul at its finest.