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"Join us as we welcome back New York Underground Funk Band with two more unreleased funk tracks from the early 1970s, “Funk & Soul” and “Wanna Be Free” — a more psychedelic take on their funk sound.

Funk & Soul states, “I’ve got funk and soul...don’t have to worry about a doggone thing” — and we’d have to agree. Yet another excellent track from NYUFB, though a little more psyched-out this time: imagine Sly and the Family Stone getting Jimi Hendrix for a session, then asking him to drop a fuzzed-out guitar solo. You might then end up with “Funk & Soul” — the heaviest, fuzz-driven Sly track you’ve never heard. Though it’s also NYUFB from start to finish.

Now that you’re in the right frame of mind from side A, you’re ready for “Wanna Be Free” — the deep funk B-side that trades out the spirit of Jimi Hendrix for the spirit of Jim Morrison. With all the respect that is due to these greats, NYUFB crafts their own psychedelic sound in this raucous cut that features thunderous drums and alluring interplay between organ and guitar. This was certainly designed to free your mind, and we believe the group succeeds.

These two tracks comprise one of our most exciting releases yet, as that promising band from the New York or New Jersey area further displays their remarkable range. These songs simply cannot remain buried. They’ve finally found their way to you on PP007, and we hope you’ll get a hold of it while you can."

Satoshi Suzuki (鈴木慧) described his musical practice perfectly on the OBI strip of his 1987 privately pressed LP - Tokyo Contemporary! consisting of 40% Jazz, 30% Soul, 20% Brazil, and 10% Kayokyoku - a musical mixture not too far off from what is now referred to as City Pop.

However, this archival compilation of Satoshi Suzuki's works presents a perspective of the City Pop sound not from affluent 1980s Japanese bubble economy-era studios and highly paid studio musicians, but from a one-person band making the most of the instruments in their home studio, inspired by musical traditions from around the world.

With notes of city pop, AOR, jazz, soul, bossa, and kayōkyoku - Satoshi Suzuki's intimately recorded pop songs are charming and full of wit, with a seasonal and poetic approach to these musical forms using only a drum machine and an array of digital synthesizers. Sounding a little like Pacific Breeze played on a Casio keyboard and drum machine, Uku Kuut soundtracking a SEGA video game, or the wonderful lo-fi works of Suzuki’s lo-fi homemade pop & jazz contemporaries Ronald Langestraat, Lewis, and Joe Tossini — though most of all, SUZUKI's works show a new and singular perspective of the bubble-era city pop of the Showa period.

Distant Travel Companion (​遠​い​旅​の​同​行​者​) introduces Suzuki's musical works to a wide audience for the first time, featuring remastered songs originally released over three privately pressed LPs from the 1980s, as well as a previously unheard CD from 1993. The original works were released in an impossibly limited edition of 100 copies each - printed and assembled on printing equipment at Suzuki’s company office and scarcely distributed, recording these songs at his home studio in his free time. The compilation's design and accompanying OBI and liner notes are a direct homage to the original releases.

Satoshi SUZUKI is a Japanese keyboardist, singer, songwriter, and music arranger. He is also an author of literature and winner of the "Shin-nihon-bungaku" (New Japanese Literature) Award. He was born in 1958 in Tokyo, Japan.

On Side A, smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on the second track on Side 1 in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Let's talk about Side B...

We Got A Thing is up first — a crossover soul dancer that invites you to sing along with an infectious, call-and-response chorus. It pairs nicely with The Teacher Haters as fun, simple party music from the 60s — though this time from a female perspective.

Things go deeper with Guys Today. As the name suggests, the content is about the enduring tension between the sexes and the heartbreak it can lead to. It’s a deep soul beat ballad in the vein of Betty Wright or Helene Smith. A grand opening is followed by a clear, crisp female vocal that brings the singer’s lament into focus. The band is tight, and it all comes together to portray a woman who has made up her mind and is offering a warning about guys today: I know you love your man, but I know they will hurt you in every way they can.

At first glance, these artists seem to share only a few things in common — party-themed music conceived in the 60s with an R&B flavor. But between sides A and B, it feels like these groups are talking to each other — perhaps different perspectives of the same party. Perhaps the party itself and then the fallout. The result is a balanced EP release that feels whole and satisfying. We hope you feel the same as we proudly present these found recordings as an exclusive 12” on 180 gram vinyl. Please enjoy.

Get ready for psych funk and a cover from far left field. PP12005 has all the makings of an instant classic.

Enter the dark opium den — a release reminiscent of those pioneers of funk, early Parliament and Funkadelic. These found tracks by Bruce Marshall and Bill Thomas were likely recorded around the time of “Osmium” and “Maggot Brain” — in fact, the artists featured here may have been directly influenced by the movement as it was happening, making these discoveries remarkable entries into the history of psych funk.

Where to begin with Bruce Marshall’s Gimme My Wife on the A side? Try to imagine a psychedelic football game, with driving wah wah funk as the halftime show. The frenetic instrumentation is guided by an infectious guitar hook, coupled with a loose chorus of voices and whistle blows. They all come together at the end to chant what sounds like “parrrr-tay,” a foreshadowing of that refrain the Beastie Boys would popularize.

For our EP-exclusive track on the A side, we present to you a haunting cover of the Ides of March song, Vehicle. Bruce Marshall’s version is much more sparse — a psychedelic dirge that’s almost unrecognizable compared to the original. Dark, simmering and sensual, it explodes into a soul-splitting vocal wail as the track reaches its end.

Things get a little more solemn on side B with an instant classic by Bill Thomas, Ease My Mind Pt. 1. A surprising dirge of fuzzy guitar leads into a chorus that sings, like a mantra, “I have seen much trouble...ease my mind.” Things morph into tight horns backed by some prominent organ — in fact, this is one of the tightest horn sections on any of our releases to date.

For the exclusive EP B-side, Bill Thomas and band pick up right where they left off with Ease My Mind Pt. 2 — an extended instrumental of “Ease My Mind Pt. 1.” It kicks off with a drum solo, then throws you into some horn-driven funk, with guitars holding down the background. Sax and organ take turns on the lead in this hot and delicious track that’s ready for your enjoyment.

Funk is alive and well on our fifth release — adding a new dimension to the amazing body of psych funk that’s already out there. Who knows what could have happened had these cuts reached ears during the 70s — but the time for the Marshall-Thomas ship to land is now. Put this on to get your next party going, and it’ll do most of the work for you.

Reissue number seven for Heels & Souls Recordings sees them look back to the sounds of South Africa’s townships in 1991, cherry picking four of Tashif Kente’s finest cuts from his sought after album A Boy And A Dream, giving them space to breathe on a 12" pressing.

Clearly influenced by the flavours bubbling over from the UK and US in the late ‘80s and early ‘90s, from R&B through to boogie, proto house to new jack swing, Tashif’s productions are a melting pot of ideas and influences, laced with a distinctive South African flavour.

Born in Soweto, Mzwandile ‘Tashif’ Kente, cut his teeth with Harari for a brief period, a group that birthed greats like Condry Ziqubu, Sipho Mabuse and Alec Khaoli, before going solo in 1984 and releasing just one album as Tashif Kente, 1991’s ‘A Boy And A Dream’. An album that speaks of love, lust and longing, produced by Kente and Selwyn Shandel with Marc Rantseli also joining the fold, it has that signature South African synth bass, drum machine and killer keyboard combo of the Bubblegum and Kwaito scenes, topped with Kente’s buttery vocals.

Heels & Souls Recordings take four favourites from the LP and press them loud on either side of a 12”. On the A, the audacious new jack, dancefloor bubbler ‘Tell Him I Became Your Lover’ leads into the lovestruck, boogie-tinged grooves of ‘Somebody’s Got My Love’. Flip it over to find a jealousy jam of the highest order with the synthy soul number ‘Who’s That Boy’, before ‘I Like The Way You Love Me’, a lights down low, R&B flavoured lovesong rounds off the EP.

Licensed from Gallo, who transferred the original ¼ inch tapes for their archives, Heels & Souls have enlisted the expertise of Justin Drake to remaster these South African beauties for a new generation of listeners.

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Oceanvs Orientalis teams up with Italian artist Tooker and joins the Crosstown Rebels roster with ‘II Lupo’, including a remix from Acid Pauli.

Hailing from Istanbul, Safak Oz Kutle, also known as Oceanvs Orientalis, is a true maestro at crafting hypnotic, evolving sounds while blending a diverse mix of Turkish, Kurdish, Arabic and Armenian influences. Unfolding after a busy year of performances at venues across the globe, including a notable appearance at Crosstown Rebels’ Rebel Rave at Club Space Miami, he now combines his signature downtempo sound with the talents of Italian native Tooker, a partnership two years in the making. With their joint creation teased across their sets, both artists now unveil their first collaboration on the label with the soul-stirring, ‘II Lupo’ including a remix from Damian Lazarus’ longstanding friend Acid Pauli.

‘II Lupo’ weaves a haunting atmosphere through ethereal synth-lines, echoing wolf howls and low rumbling drum hits, transporting you to a realm of intrigue and allure. Infusing his unique touch, Acid Pauli adds an extra layer of sonic flare to the release by layering cosmic stabs and shimmering chimes, enriching the melodic experience.

In the late 1960s, vibraphonist Roy Ayers was among the top young talents in jazz, thriving during a remarkable era for the genre. While Ayers would later become a jazz-funk pioneer and delve heavily into R&B fusions, his third album Stoned Soul Picnic is a masterful showcase of soul-jazz grooves. Produced by Herbie Mann, Stoned Soul Picnic features a memorable Laura Nyro-penned title track, along with an exceptional lineup of musicians, including Gary Bartz, Hubert Laws, Ron Carter, Herbie Hancock, and Grady Tate. Originally released in 1968.

Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.

Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.

The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.

In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.

The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

The Roger Webb Sound's Moonshade is one of the coolest records ever. Originally appearing via the legendary De Wolfe library in 1971, it's a sumptuous jazz-soul-funk instrumental set. Full of melodic, melancholic yet sun-drenched songs, rich with colour and contrast, it was composed by self-taught jazz pianist Roger Webb and features vocal performances by Barbara Moore. That's right; *the* powerhouse library music duo! It makes Moonshade the perfect precursor and accompaniment to Barbara Moore's eternal classic Vocal Shades And Tones. It will come as no surprise that original copies, if you can ever find them, will set you back north of 200 notes.

Moonshade is a phenomenal showcase of Brit maestro Webb's own roots in jazz. Those roots are served up here with a plethora of fast-stepping rhythms that truly give flight to the vocals of Barbara Moore, as they soar in wonderful ways. Moore sings wordlessly throughout, allowing her voice to act like another instrument in concert with the horns and keyboards elevating the fine arrangements. This is a deeply beautiful record.

The album opens with the ornate Baroque pop splendour of the sun-dappled melancholia of "Sunshine". Strings, piano and wordless female vocals combine to create this brief beauty of unimaginable grace. The cool "Gentle Eyes" features haunting and beautiful vocals, smooth jazz piano and horns and a general easy vibe without being easy listening, if you know what we mean. You do. Just listen. The pounding "Heavy Lace" is one for the beat-heads, funky open drums (!) with muted organ, bassy piano chords and ace horns. Sampled by Quakers for their great debut album on Stones Throw. The nostalgic "Yesterday" is wistful and beautifully melodic instrumental soul music with gorgeous acoustic guitar and flutes. It's followed by the light, lilting "Petal Soft" which features more Baroque styles, overflowing with flutes and harps. The bright, bouncing "Coaster" is an easy-going piano-led, guitar-driven swinger whilst "Grey Sigh" is another classic. A real highlight, with more fantastic propulsive drums and percussion and plaintive wordless vocals courtesy of Barbara. Speaking of which, the soft, sweet Rhodes jazz of the lilting "Sweet Thing" is another staggering showcase of the brilliance of Barbara. Just astounding.

Head straight past the honky-tonk-by-numbers piano jaunt "Cough Drop" and luxuriate in the soft, delicate beauty of the album's melodic, cyclical title track, "Moon Shade". Fragile flutes and acoustic guitar float across judicious bass notes before giving way to slightly ominous piano and, again, those beguiling wordless vocals. And then round again to the flute refrain of the intro. This time with the vocals to see us out. Majestic drama jazz at its finest. The cello-and-flute adorned "Sapphire" is a fluid orchestral beauty whilst "Interweave" rides with more urgency in its string and bass stabs. When the warm keys enter, it's a bonafide mellifluous wonder. The softer "Musette" begins in beautifully gentle fashion before pivoting for a driving yet elegant piano middle section. It reverts back to the mellow intro, for its outro. Understood? The melodic organ and prominent rhythm section running through "Reminiscence" makes for a delightfully understated folk-funk instrumental whilst the cool, rolling piano feels of "7.30 For 8.00" seem to perfectly suit the phrase "dinner jazz". It's no bad thing, c'mon. This classy, memorable set is rounded out by the half-minute mince of the Barbara-blessed "Sparky". It's just over too soon!

The audio for Moonshade has been brilliantly remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

10th anniversary deluxe edition of Mac Miller's second studio album Watching Movies with the Sound Off on heavyweight galaxy vinyl. Includes a bonus 10" zoetrope picture disc with bonus track "The Star Room (OG Version)" and a never before released vinyl exclusive track "The Quest."

With the release of his sophomore album, Pittsburgh native Mac Miller goes up against some of hip-hop's heavyweights to shatter the public perception and prove that he is a talented lyricist.

Miller made a name for himself several years ago with the release of his popular mixtapes , gaining a following from the party-heavy beats and whimsical rhymes. Miller's first album Blue Slide Park debuted on the charts at the number one spot of Billboard's 100 making it the first indie album to snag the number one spot since Tha Dogg Pound's Dogg Food in 1995. Despite the commercial success of BSP, Miller's debut album received mixed reviews and he was lambasted and accused of being one-dimensional. Determined to prove himself as a serious lyricist, Miller's Watching Movies With The Sound Off goes toe to toe with Cole and West. Picking up where his 2012 mixtape Macadelic left off, Miller continues his psychedelic journey through hip-hop with a more serious undertone to his lyrics.

Miller once again pulls double duty and puts on the producer's hat of his alter ego Larry Fisherman. The 21-year-old handles most of the production on the album but he enlists the help of several others including Pharrelll Williams, Diplo, The Alchemist, Clams Casino, Flying Lotus and more. It's clear Miller has grown just as much as a producer as he has as a rapper. Sonically, WMWTSO is a complex and challenging conglomerate of trippy, acid-laced sounds that mesh well with Miller's laidback flow.

WMWTSO may seem like a far leap from his debut album, but with the several projects released in between the two albums, Miller has been on this path for a while. Accomplishing the goal of proving he's more than a flash in a pan and can make more than party hits, Miller's sophomore album WMWTSO holds its own against his colleagues that share the same release date. A must have on vinyl for any fan!

"Galt MacDermot (1928-2018) was an award-winning Canadian-American composer, pianist, writer of classical music and theatrical pieces. MacDermot also composed music for several film soundtracks (like the 1970 blaxploitation film `Cotton Comes To Harlem') and released several exceptional jazz and funk albums on his own label Kilmarnock Records. He is best known for his work on the Grammy winning 1967 musical Hair (which also produced several number-one singles like "Aquarius/Let The Sunshine In") and Two Gentlemen of Verona (1971) for which he won a Tony Award. In 2009 Galt MacDermot was inducted into the Songwriter's Hall of Fame and in 2010 he received the Lifetime Achievement Award. In 1979, MacDermot formed the New Pulse Jazz Band, which performed and recorded his original music. Galt MacDermot's music is extremely popular with collectors of jazz and funk. Working with jazz and soul musicians such as Bernard Purdie and Idris Muhammad, MacDermot created pieces that used African rhythms (he made the study of African music his speciality). In recent decades, his work has become popular with hip-hop musicians including Busta Rhymes, Ol' Dirty Bastard, Gang Starr, Action Bronson, Public Enemy, MF Doom, Madlib, J Dilla, Obie Trice, Naughty By Nature, Run DMC and Digable Planets_the list is endless. The album "Ghetto Suite" was written in 1970 and released in 1972 and is considered one of the most ground-breaking records ever issued on Galt MacDermot's Killmarnock label and consists out of a selection of songs and poems by Harlem/Bronx school children, set to Galt's music, and sung by vocalist Angela Ortega. Given That Galt's handling the music, you can bet that there's plenty of nicely executed funky touches - supported by rolling bass-work, snapping drums, and organ virtuosity. But the real charm of these groovy tunes comes from the lyrics, which have a simple and to the point way of dealing with issues of racism, poverty and other issues of the time. The story telling is surprisingly gripping even after all these years. The whole album creates an extremely personal direct sensitivity to the environment of Ghetto kids_telling us with defiantly honest intensity what it was like to be young and black, the drugs and the deaths, the topic of incarceration_or simply the fact of being battered by the frustration of Ghetto existence. Ghetto Suite is way more than an entertainment record, it has been used by teachers and counsellors to inspire and motivate the muted voices of the black inner cities_ documenting both their anguish and their triumphs. Tidal Waves Music now proudly presents the FIRST EVER vinyl reissue of this exceptional conceptual album (originally released in 1972 and a highly sought-after pricey collectable ever since) This unique record now comes as a deluxe 180g vinyl edition (strictly limited to 1000 copies) with obi strip and features the original artwork and extensive sleeve notes.

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."

Tenor saxophonist Ben Webster (born Kansas City, 1909) needs little introduction, Webster is regarded as one of the three foremost swing era tenor saxophonists - the two others being Coleman Hawkins and Lester Young. His ballad playing and sound inspired such later fellow saxophonists as Archie Shepp, Sonny Rollins and John Coltrane. Webster became famous for his unique sound, quick tempos, his solos that contained great virile rhythmic momentum, a rasping timbre and an almost brutal aggressiveness filled with growl, while his ballad playing was breathy, tender and sensual. The list of his collaborations is long, Ben Webster worked, recorded and played with legends from the likes of Art Tatum, Count Basie, Cab Calloway, Roy Eldridge and Dexter Gordon_but a dream came true when he was offered a permanent job in Duke Ellington's orchestra where his personal style matured. Webster stayed with Ellington until 1943, after which he formed his own groups and played with other small ensembles. From 1952 on he spent his time between Los Angeles and New York playing, freelancing and recording with a variety of soloists, among them high-profile singers like Billie Holiday, Ella Fitzgerald, Carmen McRae and Frank Sinatra. Despite excellent reviews of his albums, it was difficult for Webster to find steady work in the US during the early 1960's, and when in 1964 he got offered to play for a month in London he accepted and sailed to England. Webster never returned to the United States. In Europe he found plenty of work, playing residences in Scandinavia, settled in Amsterdam (1966-69) and then in Copenhagen (where he even has a street named after him). He toured frequently, playing in clubs and at big festivals with local bands or with visiting American musicians. Ben Webster suffered a stroke in Amsterdam in September 1973 following a performance in Leiden and died on September 20. Even when his health started to decline during his last years, his playing never did. To the last day Webster played with passion and intensity, delivering weight on every note. Webster is the subject of two renowned documentaries and two extensive biographies have been published about his legacy. Responsible for a plethora of excellent recordings he remains THE best-selling tenor saxophonist in jazz. Ben Webster was one of those unique jazz musicians whose presence came through on every recording (He recorded for prestigious labels including Verve, Impulse!, Prestige, Reprise, Blue Note_and countless others. On the album we are proudly presenting you today (Wayfaring Stranger recorded in 1970 by the NPS Radio network in The Netherlands) you will find mind-blowing high-quality Dutch sessions that were left dormant on a shelf and weren't commercially released for over 30 years! On 'Wayfaring Stranger' the listener is treated to no less than nine sublime tracks that document Webster's trademark relaxed-swinging but imaginative playing style that never gets boring. The album features an all-star line-up from the likes of Rob Langereis (Toots Thielemans), John Engels (Chet Baker, Dizzy Gillespie) and Cees Slinger (Dexter Gordon, Slide Hampton). Expect a 61-year-old Ben Webster in excellent form giving a warm, dusky, gritty yet funky performance where he delivers everything from up-tempo material, 12-bar blues jams to soulful expressive ballads. Webster's quartet is in constant musical dialog with each other, creating a unique back and forth between musicians at the top of their game. Tidal Waves Music now proudly presents the FIRST EVER vinyl release of this fantastic album (originally released as a limited Compact Disc edition back in 2000). This unique record comes as a deluxe 180g DOUBLE vinyl edition (strictly limited to 1000 copies) with obi strip.

Atack’s founder member and lead guitarist Keith Atack has a long pedigree in the rock music scene. He grew up during the sixties and was influenced from an early age by bands like The Beatles, Rolling Stones, Yardbirds and then on to Jimmy Page and Ritchie Blackmore. He has also toured with many pop acts like Bonnie Tyler, Rick Astley and many others. He has a rock / funk / soul style as well as a jazz and blues influence. He is joined by band members that also have strong roots in the rock scene such as Bob Richards on drums who has rubbed shoulders with members of bands like Iron Maiden, Survivor, Asia and Shy. Bassist Chris Childs is well respected and is the bass player with UK stalwarts “Thunder/ Lonerider/Tyketto”, he is an ideal addition to the line-up along with seasoned vocalist Lee Small (Shy/Phenomena/Lionheart and many more). Finishing off the quintet is Nick Foley whose keyboard prowess is ever present throughout the album. The sound of the Hammond for which he is known gives the whole album a feel of Deep Purple and Rainbow with a true classic British Rock sound. “Nine Lives” is an exciting addition to the escape music roster and available in limited edition vinyl and CD formats, something very much to look forward to.

On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.

Zenit is a jazz ensemble from Krems in Lower Austria, founded in 1976 by Hannes Treiber and Willi Langer. Their music was celebrated locally, but to reduce them to their local fame would be a shame: After all, their first two LPs, Stimmungswechsel (Change of Moods) and Früchte (Fruits), quickly gained them a much wider audience of discerning listeners. Arguably, however, Zenit's third and final LP Straight Ahead is the most special of their records. It initially came out in 1986 on the producer's label Spray Records, and is today one of the hardest-to-find Austrian jazz records. Its centrepiece is the infectious slow-motion disco piece 'Waiting,' with vocals by American jazz singer Linda Sharrock. Effortlessly bringing together pop, soul and new age vibes, this is a record that is as unique as it is difficult to date. Does it sound like from the 80s We're not sure. To our minds at least, it could also be from the future.

Behind the alias GO.SOUL.MAP. hides Salvo 'Dub', one of the most authentic and purest talents with a marked sensitivity,
not only artistic, of the current music scene in Catania, of which, under other guises and names, he has been an indispensable pillar for over a decade.

The debut album of this project is anticipated by two preview tracks that will be released not only digitally, but also in physical format on 7" / 45 rpm.

The launch single is 'Pushing', an explosive track in a Nu-disco key, modern but firmly rooted in the past, with a production that enhances the sound of the keyboards; full of 70s/80s Funk and Soul, it also has a Disco-Pop vein that makes it perfect for radio. The track is excellently performed by Derane Obika of Living Sounds. A Londoner of Nigerian origin, as well as an exceptional singer, Derane is also the author of the song's melodic lines and lyrics, which can be interpreted as a dialogue between an imaginary interlocutor and his spiritual guide journeying through the maze of life.

The 'Pushing' 45 will feature as a B-side an exclusive instrumental version (the one sung by Reiwa Pia will be included on the full-length) of 'Back In The Underwater', a track that combines a Hip-Pop groove with cinematic atmospheres.

GO.SOUL.MAP.'s debut album is titled 'Peaceful Sound for Broken Minds' and is scheduled for release February 28th 2024, a little gem in which pop and soul intersect and the clichés between mainstream and underground leap. A SpaceNu-Disco, Soul and R&B journey in which Derane Obika's fundamental contribution to the lyrics and melodies of no less than nine tracks out of twelve stands out! - This is a greatly anticipated album made for the ears of music lovers performed and produced by musicians with same love for the art of music.
Dont miss it!!!!!!

Artists like Jalen Ngonda come around once in a lifetime, so it is our privilege and distinct pleasure to announce the release of his debut album Come Around and Love Me.


Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm-disarming packed rooms of rowdy concert goers, leaving them silent as they hold fast to every syllable sung. Plans for the album were struck just months before the COVID 19 pandemic shut the world down. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family.

The team skillfully blends heavy arrangements and introspective lyrics with motown sophistication, leaving the listener in a blissful wash of wonderment. Jalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, "I love music from the 20th century- I listen to it all the time, but I?m in this world and the 21st century. ...to a stranger, I?d describe my music as modern soul and R&B, while trying to fit in the Beach Boys and the Beatles somewhere in between." Come Around and Love Me reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation-leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone?s hallmark.
Now it's your turn to come around and love one of the finest soul albums of the decade.

Reissue of the highly sought-after 7” from 1979 by Chicago
reggae outfit Gypsy Fari.
Gypsy Fari was a project born in the south side of Chicago
after a chance meeting between St Kitts expat Leroy Webster
and local music grad Kevin Coleman. The pair set out to blur
the boundaries of genre with their unique brand of music,
spearheaded by Webster’s Caribbean roots and fused with
the soul and blues the midwest is famous for.
A striking stand-out of the band’s repertoire comes via their
debut recording, laid down at Curtis Mayfield’s legendary
Curtom Studios. The EP opens with Chi-Town Reggae - a
super-charged blend of reggae and disco, led by Websters
infectious vocal, steeped in soul and powered by a relentless
rhythm section. Hail Jah follows closely, written on the hilltops
of the outskirts of Kingston, Jamaica, it’s a deadly roots reggae
missile that pays homage to Websters beginnings.
Once dubbed by a local news outlet “Gypsy Fari are to
Chicago reggae what Muddy Water is to Chicago blues” -
now remastered, repackaged and made available again for
the first time since its initial release

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

Malian and French pairing Siraba return to Secret Teachings with a third superb single, ‘Nase’, from their forthcoming debut album, accompanied by US talent Joeski on remix duties.

Malian hunter Boubacar Samake and Damien Vandesande, one half of the French electronic band dOP, use their Siraba project to bring the traditional sound of the Wassoulou - a river valley of West Africa - to the electronic world. They have been friends for 20 years and look to fuse Mali’s rich musical traditions with cutting-edge electronic music, always with an underlying message of love and respect for all. Their stunning work has found a perfect home on Damian Lazarus’ Secret Teachings imprint, a left-of-centre and experimental alternative to his club-focussed Crosstown Rebels, and the pair return in excellent fashion once again to drop the penultimate single ahead of their debut album release.

Joining the package is US house legend Joeski, whose roots in the scene date back to the early 90s. A founding member of The Chocolate Factory DJ collective, he has been a vital part of the scene ever since with releases on Crosstown Rebels, Relief and an array of other heavyweight labels. His sympathetic remix elongates the groove into immersive, deep house sounds richly layered with elegant synths and soul-rousing chords that are delicate yet impactful.

T4T LUV NRG presents “Name It”, the latest album by Oakland’s Bored Lord, aka DJ Daria. The internationally beloved producer and DJ has created a truly stunning album of impeccably produced and mixed work, each song an enticing chapter in a complexly woven story about love. This album of uninhibited, hook-laden tracks conveys a narrative of love that is not only romantic and personal, but also communal and familial— a love that refuses to limit itself to just two people, but instead spills forth into the world, embracing everyone open to its power. With her emotive, tenacious album, Bored Lord reminds us that to truly allow yourself to be enveloped in desire, you have to endure the pain that comes alongside it. You have to adapt and stretch yourself in order to experience the immense growth love has to offer. You have to believe there's more to this world than suffering and isolation. You have to look within and accept whatever you find, even if it is ugly or difficult. Love is the peace you find amidst the chaos of living, and it doesn't just fall into your lap. You have to want it. You have to be ready for it. And if you are ready, you have to name it.

As a producer known in no small part for her edits, Bored Lord presents “Name It” as a work undeniable in its artistry, completely authentic in its messaging, and absent of the industrial notion of production. The songs on “Name It” have instant hooks and each is deeply inspired by the genres Bored Lord loves—broken beat, drum n’ bass, jungle, UK bass, Florida breaks and house among them—but rather than simply reproducing, these tracks expand each genre beautifully. Daria’s technique is decidedly hardcore, with samplers, romplers and a bone dry aesthetic, each song and sound all her own. In the artist's own words “I want the industry people to be confused while the ravers understand the very moment they press play. I want to challenge everyone to name it.” And we expect that indeed they will, play after play after play. Now, close your eyes and believe there is more, more, more….

Platform 23 reunites once more with Vox Man Records to dig deep into their archives and shine a new light on. In the past they have done some mega well loved Alternative Funk compilations which got the label off to a fine start and now they dig into an array of cult cassette releases to bring us treasure from Audiologie N-4 - The Independant Psychedelic Trip and Audiologie 5 et 6 - Ethniques Urbaines. This is music from the avant-garde and post punk scenes that draws on wave, spoken word, dark dub and industrial for its eerie yet alluring charms, all with a real edge. Ethnic, idiosyncratic and psyched out, this is another great overview.

Record number 3 from Unveiled Nuance brings a new confidence in the further developed sound of owner Means&3rd. A continued eye for detail as well as a roughness that breathes dark soul into the production aesthetic that we have yet to hear from the artist.

“Hardship Repackaged As Growth” Opens the EP with boomy, rugged low end and grainy driven synth lines with sharp hits of wide sonic impact and a depth of layered atmosphere, placed on a bed of dense percussion until its break point exposes contorted, abrasive stabs just surviving the crunch of their processing, that then take the forefront. “Countenance” replies to the previous track with a more calculated, rounder and organic palette of audio that focuses on a cadenced synth line that breaths with the arrangement, fizzing to break point and engaging the deeper listen. Swung percussion keeps the groove providing a propulsive backing that sits on ganrled bass hits before the focus returns on the charged lead line.

“Character Ethic” carries deep suspense from the off, with filtered menace being teased below the surface, warping atmospheres are stacked and build the apprehension against a militant 16th shaker before an almost vocal like modulated synth reveals itself and is left to dance prominently across the stereo field. Layers of energy providing percussion complete the picture for a mesmerising trip. “Desperate And Relevant” the most driving of the 4 cuts takes an effectively reduced stand where square wave accents build new levels of intensity. Propulsive low-end and cohesive percussion writhe through the track’s arrangement closing out the EP with a powerful ending, a blistering siren sees the track’s breakpoint provide a release worthy of the pressure built.

Devilish is an album surrounded by a darkest atmosphere, its lyrics show urges experienced in our century, such as the constant degradation of the Amazon rainforest and the population increasingly affected by psychological illnesses such as anxiety and depression At the same time, it opens windows of escape for an imaginary world inspired by games, series and fiction books. In their second album with the new lineup, Mayara Puertas (Voice), Rene Simionato (Guitar), Castor (Bass) and Amilcar Christofaro (Drums) transcend the sound of extreme metal with maturity, incorporating progressive metal, influences from Brazilian music and symphonic elements.

The album also honors Brazilian heroes with a participation of Andreas Kisser (Sepultura) in the track "Buried Alive", and a tribute to Rickson Gracie the resilient fighter of Jiu Jitsu considered one of the greatest legends in this sport, the theme of the track "Warrior". The band also mobilized several musicians related to indigenous causes in their country to collaborate on the song "Uatuma", making an appeal for the preservation of the Amazon in a song that flows in an powerful way with the speeches of the indigenous leader Raoni Metuktire and tribal rhythms. For the cover art, the band had Marcelo Vasco, a Brazilian illustrator who has already created artworks for Slayer, Dimmu Borgir, Soulfly among others.

Search Party is the debut album from pianist, Rupert Cox. Rupert has made a little following for himself already being a respected player for Myele Manzanza, China Moses, Chris Hyson and many more.

His debut album swings between laidback contemporary jazz and swirling electronics. There are mellow and moving moments alongside joyful, uplifting melodies and dancing rhythms.

The record has already won support from people like Deb Grant on BBC Radio 6 Music and is slowly developing an ardent following.

DJ Support:

Deb Grant (BBC Radio 6 Music) and Tony Minvielle (Jazz FM)

Jacob Collier: “Having known Rupert for more than a decade, I can honestly say that this kaleidoscopic beauty of an album does effervescent justice to his magnificent musicianship. It’s a journey for the soul! I can’t wait for the whole world to hear it.”

Brad Mehldau: “Music is all about storytelling for me at its base and it’s got that going on all the tracks… It really holds together as a singular voice.” “It feels like I’ve heard it before, like it has a familiarity, but it doesn’t sound like something or someone else.”

The debut album of soul singer, Maiiah is also the third full-length by Hamburg collective, Angels of Libra, following on from the success of their collaboration with Irish singer, Nathan Johnston.

Maiiah is a singer with roots in the Balkans but residing in Düsseldorf, the city of the legendary Unique Club and the label of the same name. Soul left its mark on her early on, and when she met Hamburg producer, musician and composer Dennis Rux (Hamburg Spinners/Yeah! Yeah! Yeah! Studios) during the pandemic, the two realized they shared a similar musical vision. Their common love of soul music and old rhythm & blues brought them together, and they started recording music together in Hamburg with the Angels of Libra. Lo and behold, their first single together "Obey" got into rotation at tastemaker station Radioeins and confirmed them as a winning team.



Following in the footsteps of many a classic soul tune, second single, "No No No (I'm So Broke)" is a social critique and commentary. In it Maiiah literally wears her heart on her sleeve, as she sings about the back- breaking job she was working at the time and the poor earnings as a hotel service employee.



But naturally life has more to offer than just work and so a large part of the songs on this record revolve around love. Maiiah gives her own spin to the classic "I'm A Good Woman", which the spirited singer has performed live many times. The story goes that the late DJ and Unique Records label owner Henry Storch sent Maiiah the original song by Barbara Lynn to comfort her after a heavy heartbreak. The song thus holds a very important place in Maiiah's heart, and it was released as the third advance single, recorded during her tour with Nathan Johnston at Bekegg Studios in Rastede, Lower Saxony.



With Dennis Rux at her side and the powerful arrangements of the Angels of Libra, Maiiah has found the right partners for her personal debut. On "Kava" & "Plenty of Life", Hamburg's jack-of-all-trades Carsten Meyer aka Erobique is featured as a guest on the keyboards, so here the rhythm section of the Hamburg Spinners comes together again. The love for old soul, rhythm & blues and the analog sound of the sixties is also fully expressed on this album. The longings and deep feelings in Maiiah's lyrics are carefully picked up musically, whether as a classic R&B song as in "Please Come Home" or in boogaloo party mode as in the Croatian-sung "Kava", the fourth single. "Plenty of Life" is a song for self-cheering and a call to open up to the beautiful sides of life despite all adversity. In "I wanna go", on the other hand, Maiiah longs for her Croatian homeland. The crowning finale of the album is the intense "Infinity" about life's phases and the recurring ups and downs as the essence of human existence.



The ingredients of Maiiah and the Angels of Libra's recipe are authentic lyrics, to the point arrangements, tight horns, rousing background vocals and the spirit of the golden age of soul music, as it was shaped by labels like Motown and Stax. Recorded in part with original equipment from the 50s. Producer Dennis Rux says, "We wanted to create a record that people would go dance to at the Komet" (a neighborhood club on St. Pauli in Hamburg, the band's second home). The joint album combines the Hamburg soul of the Angels of Libra with the passion of Maiiah, who can fully live out her temperament on the mic.

2023 Repress

On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recentsignees to Capitol Records, a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

With 2 solo albums («Digital Pixel » in 2016 and « Bass Attack » in 2018 ), a dozen of EPs and more than 800 shows performed all over the globe, the most international French beatmaker in the world of Reggae is back on November 2023 with his brand new album « Step Up », in which he pushes further the fusion between Reggae and Bass Music. With « Step Up » Manudigital made his music evolves toward more electronic and hybrid productions. He navigates between musical genres like no one does, inviting guests from all over the world. Armed with his bass, MPC and synthesiser, Manudigital surrounded himself with no less than 17 hand-picked artists to make his productions their own. « (…) I was already working on my upcoming album and I thought I would keep this small Reggae loop to take it to another style, fully electronic which has given my new album’s DNA » - Manudigital about the track « Step Up » The album opens with the eponymous explosive track « Step Up » featuring veteran Jamaican deejay Joseph Cotton and British Drum & Bass MC Bellyman, author of the successful YouTube video series « Carz Barz ». Among the artists of the British underground musical scene, Reggae/Soul genius Liam Bailey has been invited on the Pop-infused Digital Reggae track « Enough » which will delight the lovers of soulful Reggae. Manudigital also reminds us Reggae has always be his first love and, after having produced Alborosie and Protoje’s hit « Strolling » a few years ago, he proposed the Sicilian MC to collaborate with Jamaican artist Yami Bolo on the track « Reggae Music and Love ». A big tune built upon a classic digital riddim in the Jamaican way, a catchy chorus carried by the high voice of Yami Bolo and the legendary flow of Alborosie of the verses. Cult band Asian Dub Foundation’s singer Ghetto Priest takes also part of the project with « Rasta Corner », MC Caporal Negus joins Manudigital on « Dub and Bass » and on tour, and Jolly Joseph sings on « The world is Hell » for the Reggae Dub tracks of the album. In terms of surprises, Manudigital takes pleasure in inviting benchmark artists in each musical genres, walking through Lo Fi Hip-Hop’s path with the Dancehall President aka Skarra Mucci on « Fi Di Youths », Baile Funk with Punjabi-American rapper Alo Wala and their song « Love on Tap » or even Afrobeat with Dynamq for the last song « Piki Piki ». Finally, whereas Manudigital will soon celebrate his career 10th anniversary and as his name resonates in sound systems from all over the world, we appreciate each risk taken and each nod to Reggae Culture, wondering what his next shape will be. First parts of response on November 17, 2023 with the release of

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

Repress!

Veteran Drum & Bass producer Zero T returns to The North Quarter as he teams up with blind jazz pianist Andre Louis (PKA Onj) on their conceptual album Kilburn.

Having fortuitously discovered that they are neighbours in autumn 2021, Zero T & Onj began writing music together almost immediately. The duo's chemistry was undeniable as Kilburn was written over the course of just three months. With Kilburn being historically known for its large Caribbean and Irish communities, and Zero T being Irish and Onj of Caribbean heritage, it felt undeniable to dedicate the album after the London area it was written in.

The result is a rich, versatile collection of tracks, showing off intricate rhythms along with smooth chord progressions, perfectly marrying the worlds of both artists and their Jazz, R&B and Jungle influences. The darker, heavy side of Zero T’s sound is present on 'Some Type of Way' and 'We Juggle Different', both featuring Neo Soul singer Terrell King. More delicate, soulful tracks include “Everyday Struggles” featuring Jordan Max, “Rodeo Drive” featuring Mercy's Cartel and “Darkness” featuring Steo. Other featured vocalists are the iconic Ursula Rucker, Manchester's T-Man and Ms Nayé. The album also includes a collaboration with Nu Jazz duo Unitsouled, who previously appeared on Zero T’s debut release on The North Quarter Baby Grand.

After her album with producer High John on MPM in 2019 and collaborations with agajon, Àbáse, KUOKO, Cap Kendricks and Move 78, soul singer douniah returns with her debut solo project!

douniah imparts her debut solo project "A Lot, Not Too Much" to an unexpecting audience. Thoughtfully, the singer-songwriter invites us to embark on our own saviour. The collection of songs is steeped in artistic and emotional integrity. Production was ledand executed by Dhanya Langer, one half of band project Modha, and producer of JujuRogers' 2019 album "40 Acres N Sum Mula". Written amid the pandemic, this piece is aneffort of immense proportions - experimenting with her sound in time, wading through spirals of arduous personal challenges. 'A first impression of how my journey sounds.'Agadir-born and Hamburg-raised, douniah engages in the practice of interpreting herspirit, impressively, in German, Darija and English. We find here, a body of work that threads together the tenets of free-form poetry and romanticism, backdropped by neo-experimental jazz tendencies. In euphony, a worldly array of instruments act insymbiosis to carry us through "A Lot, Not Too Much". douniah's voice is one to fall into; her message is enunciated with every word, delivered delicately with an inventory ofriffs and ranged tone. The utilisation of choppy, note-like, freestyles bridges the EP's strong singles, into a rhapsodic whole.

Ancient Infinity Orchestra is a 14-member jazz ensemble led by double-bassist and composer Ozzy Moysey, based in the bustling creative city of Leeds in the North of England – home to one of the most innovative and community-based jazz scenes in the UK. Saxophonist Matt Cliffe who also performs with Matthew Halsall is a key member and the rotating line-up which includes drums, two bassists, keyboards, harp, violin, cello, two tenors, alto, oboe, flute and percussion. "River of Light’ drinks deep from the well of spiritual jazz and is especially inspired by the soulful sounds of Pharoah Sanders, Alice and John Coltrane but also channels a certain Northern sensibility that can be heard in the music of Matthew Halsall or Alabaster de Plume. Melodic, warm and honest this is music that is happy to wear its heart on its sleeve.

David Byrne is a modern renaissance man - and that’s not just a cliché. From the heady days as co-founder of the celebrated art new-wave group Talking Heads (1976-88) through his own constantly evolving and innovative solo music career, he has pursued his muse on many different artistic fronts. He’s been the driving force behind a body of work that has been both intellectually daring and commercially successful...and he shows no signs of slowing down decades later. This show, captured on November 28, 2001, came on the heels of his hit single, “Like Humans Do” and the release of the album Look Into The Eyeball, which was another typically eclectic musical stew reflecting a variety of styles and influences, from Philly soul to a D.C. Go-Go inspired groove and his first-ever Spanish composition, “Desconocido Soy.” Critics at the time called it his best work in years, and his performance on the Austin City Limits stage shows why. Joined by Austin’s own eclectic tango ensemble Tosca, Byrne takes us down many different musical roads in his ACL debut. Of course, besides the brilliant songwriter and performer that he is, he’s also an accomplished performance artist, photographer, web journalist, film writer / director, composer of motion picture soundtracks, and founder of his own world music label, Luaka Bop Records. He also has a collection of Grammys, Oscars and Golden Globes on his mantel. His music may be complex and poetic, but he makes no bones about his ultimate intent: “I want to move people to dance and cry at the same time. - Terry Lickona (Producer Austin City Limits)

Introducing Count Buffalo! An ambitious work that explores the sound of the next generation with innovative arrangements and outstanding performances. A new era opens here.

Akira Ishikawa, a drummer who led groups such as Midnight Sons, Genchers, and Count Buffaloes and has released countless works to the world. This work, the earliest recording under the name of Count Buffalo, features Ken Muraoka, Hiromasa Suzuki, Kiyoshi Sugimoto, Masahiko Sato, and others. Hip jazz-rock “Cougar” led by disquieting strings, “Greensleeves” with a hint of avant-garde, his own interpretation of “Hey Jude”, and a dry jazz-rock version of a folk song such as “Makouta”. , so dense that you don’t even have time to breathe. It is one of the most important works in the history of Japanese jazz-rock, not only in content, but also considering the era of 1969.
text by Yusuke Ogawa (UNIVERSOUND/DEEP JAZZ REALITY)

After last years „4 THA CULTURE“ and his collaboration with horsegiirL „My Little White Pony“ MCR-T releases his debut album „My Voice My Weapon Of Choice“. My Voice My Weapon Of Choice weaponises MCR-T ́s fierce Soul Power on the mic. This album being more personal than usual, MCR-T does not shy away from giving his listeners insights to his inner demons and personal battles over the course of making this release. Tracks that all tell deep and personal stories while staying true to their club functional nature. MCR-T pays homage to Grace Jones' opening statement on her record “This Is”. Realizing that the liberation of self starts with the paper and pen, the means to an end - therapeutic self expression. Bold statements backed by even bolder sounding rracks all across the electronic music spectrum to underline not only his versatility on the dancefloor but also in the studio. Different flavors for the deserving multifaceted raver of tomorrow.

Hailing from Las Vegas, Johnny Ruiz and the Escapers offer up two sides of the haunting group sounds, sure to scratch the itch of doo-wop and soul enthusiasts alike. Adorning the a-side is 'Sorry', a stark, creeping, dirge like ballad with a sparse rhythm track that swings eerily underneath Johnny's sublime lead and the Escapers plaintive harmonies, creating a hypnotic vibe that will have you dropping the needle over and over again. Continuing with the dark vibes but picking up the pace a couple of BPMs, 'The Prettiest Girl' brings a measure of hopefulness to the tune, evoking the earnest, lovelorn memories of youth. A must for fans of Nolan Strong and the Diablos Fortune Records output.