quête:spec

In 2023 Deutsche Grammophon celebrates a wonderful milestone: its 125th birthday. To mark the occasion the Yellow Label makes a selection of LPs available on vinyl for the first time ever. Including legendary recordings by Daniil Trifonov, Hélène Grimaud, Hilary Hahn, Jan Lisiecki and many others. Perahia's grandiose recording of Bach's French Suites is a true feast for music lovers and connoisseurs. Never has Bach sounded so natural and casual as in the hands of Perahia. The New York-born, multiple Grammy and Echo Klassik award winner has felt a close connection with Bach for decades. At the age of 15, a performance of the St. Matthew Passion made such an impression on him that it sparked a remarkable passion for the master of baroque music. Thanks to Perahia's intensive study of Bach's works, one can enjoy the enormous emotional range of the French suites from the very first minute: From bittersweet melancholy to exultant joy, Bach's masterpiece covers an incomparably rich spectrum of emotions. Due to Perahia's brilliant interpretation, this recording will certainly join the ranks of the most legendary contemporary piano recordings.

Japanese born but nowadays NYC resident, DJ Monchan is a long-time purveyor of Disco edits and early House music, something you'll clearly hear on his debut release on GAMM.

The first track 'What is your love worth' is really something special as it starts off with a gritty and raw early house loop but then makes a dramatic turn over to high energy NY Disco...and then back to the grit.
A great jam session!

The B-side offers a deeper Disco-House track that easily could've been released in the early 90's on any of the relevant NYC labels of the time.

After a first release by a member of the crew, Love Reaction is proud and humbled to welcome on the label one of Geneva’s rising stars and longtime friend, Mirlaqi.

With this record, he offers a simple yet poetic groove : Disco and balearic in their broadest sense, tinged with his signature touch of Spatial House.

A very personal project, produced in collaboration with family and friends. He has known the instrumentalists on bassoon and sax since high school. The singer, with her spellbound voice, is now a recurring partner, featured on every record he released. He also brought his cousin into the equation, to help him on his journey back to his origins, as she translated parts
of the texts to Armenian.

A-side includes the most organic tracks of the record, that, while still suited to make you dance, will also fit perfectly as a soundtrack to end a shiny afternoon in front of the ocean. On the flip, the clubbier tracks : An original production, This Color, which is the track that inspired the cover art, and a remix by parisian italo-maestro LeonxLeon. Expect the most infectious grooves the balearic spectrum could offer and prepare to dance, not on the beach this time, but rather in orbit, on the red sand of Mars

Repress!

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

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

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

All About Jazz 4star review

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

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

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

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

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

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

Songlines 4star review

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

Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from MLDVA & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.

MLDVA were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.

The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.

With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.

Bir Adım Öte is MLDVA & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.

Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.

In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.

The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.

MLDVA & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. MLDVA & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

Outboard magician PST ends a string of great releases with a mini album on Pocochin, displaying the full spectrum of his artistry!

Representing Seattle Funk. The Oscillators' debut album is deep, raw and energetic. Led by drummer oLLi kLoMp, the line up features members of the polyrhythmics, Rippin' Chicken, the Pulsations, Lucky Brown, the Trueloves, 45th Street Brass, The S.G.'s, and more...

REAL, DEEP FUNK WITH A PSYCHEDELIC NUDGE.

As of yet, as these words were written, the Oscillators is not a band. the Oscillators is an experimental recording collaboration that turned out swimmingly.

Our gauge was this: "Do we like it?" No agenda or goal. The main mode being simply; create what we like out of thin air. Yet the air was heavy therefore create what we like out of thick air. Magical, gravy-thick air. Molecules, olli'cules. Alchemically thick. Apparently, we needed to sample something out-of-the-ordinary… the process is called, "stackin- phat". Minimal gear, maximum vibe. In fact, this process and this gear would make most educated sound engineers cringe but the players know.

Pushing the tape…yes, tape! 4 track to be exact, pushing the tape to it's edge. First, stack two drum tracks. bounce them to one primal track. Sometimes one drummer, sometimes two; "a great drumbeat already contains melody." This is your first layer of phat. Generally, unless the muse says otherwise, you wanna bring in your bass player next, gently caress guidance and encouragement (maybe a beer or a hit a grass), then he or she can stack the next layer of phat. The next few layers are where things really take off. Maybe it's guitar then horns, maybe keys. Maybe just horns. Whatever the tune calls for. Whatever the muse "calls" for. Everyone stacking is simultaneously inspired, while hindered, by the previous layer; "constricted genius" works of magic from thin/thick air.

Most of the time the players weren't in the same room at the same time, and in some cases, haven't seen each other in years, but it sounds like a family and feels like a band. Create what we like.

The natural unfolding of this creation was affirming, in that the process of creation proved most relevant. An expression of faith and appreciation of the experiMENTAL process with no preparation for something else. Beyond fortunate for the allowance of time. "never underestimate the power of positive thought"

-Ned Blanski

Tammy Lakkis is a singer, songwriter, producer, and DJ, who embodies the whole spectrum of the modern musician. The daughter of Lebanese immigrants, she grew up in Windsor, Ontario Canada and Dearborn Heights, Michigan and is now based in Hamtramck, Michigan. Over the past 3 years, Lakkis been on the rise in Detroit's underground music community, becoming known as a versatile DJ and performing all-hardware live sets with a hauntingly beautiful, one-of-a-kind voice.

"Notice" is the first vinyl release from Tammy, four tracks across the spectrum of dance music, each track a unique color.

‘Bad Neighbor’ is a collaborative studio album by rappers MED and Blu and producer Madlib. Originally released on October 30, 2015, the 13 track LP features guest appearances from the likes of the late MF DOOM, Aloe Blacc, Mayer Hawthorne, Jimetta Rose, Dâm-Funk, and Oh No. The album is undoubtedly an extension of all three artists’ signature sounds, but it simultaneously defies all precedents to reaffirm each individual’s position at the forefront of LA’s legendary hip-hop landscape.

For the first since it’s original release date, the album is set to be rereleased on vinyl in a special edition red and black color-in-color configuration equipped with two new mixes of the focus tracks, “The Strip (feat. Anderson .Paak)” and “Knock Knock (feat. MF DOOM).”

"Bad Neighbor is as if the Ruff Ryders albums were reimagined by this trio and all the avant heads get to party, but it is also worth mentioning that the often slept-on MED and Blu seem to steer this beast as much as the beloved Madlib." -AllMusic

Fever hit Jamaica around 1966 when the jerky Ska rhythms slowed down to a more leisurely, sexy pace. Some say due to the extreme heat that hit the island that year, making frenzied dance routines of the earlier sounds seem like hard work in the all night Sound System Sessions. Others would say Reggae’s beat is always evolving and changing into something slightly different and moving with the times.

Whatever the reasons were, this two year period that ran until 1968, would see some of the power escape from then big three producers, Clemet ‘Coxone’ Dodd, Prince Buster and Duke Reid, who ruled the airwaves. They had to finally make room for the new wave of up and coming producers who had something to say.

Such names as Joel Gibson (Joe Gibbs), Sonia Pottiger, Derrick Harriot and the most prolific of them all, Mr Bunny Lee, would unleash some fine music in this fascinating, if short lived period in Reggae;s history. We have compiled some of the biggest hits from the Rocksteady era alongside some lesser known cuts we believe deserve to be re-evaluated.

Rocksteady was an inspirational time and some may say a little overlooked, but we hope you agree with us when we say that it brought us some outstanding music. So sit back and enjoy some Rocksteady straight from the dancefloors of Jamaica.

Hope you enjoy the set…..

Gerry Cinnamon, an already legendary live performer, made history last summer after selling out Scotland's national football stadium twice over to become the first independent act - and the first Scot - to sell out multiple nights at Hampden Park. A year on, the definitive live album from the multi-platinum singer/songwriter will be released on 14 July 2023. "Well that was a trip and a half. Played all sorts of gigs all over the world but that was something else. Over 100,000 of us. Music is a magical thing that connects people in a special way. History made. Memories made more importantly. Felt the Hampden roar right in my chest and it was mighty." - Gerry Cinnamon. The homecoming shows concluded his 350,000-capacity UK and Ireland tour, originally due to happen in 2020, instead taking place across 2021-22, also included sold out shows at Birmingham and Manchester Arena, London’s iconic Alexandra Palace, the 25,000 capacity Malahide Castle, Dublin, and Musgrave Park Stadium, Cork.

orbit is the electronic project of 28 year old producer and songwriter Marcel Heym. With a soundscape marked by a blend of raw acoustic guitars and atmospheric synth leads, orbit combines imagery of life in the countryside with an immersive dream world. After releasing three EPs since 2020 and having an international Hit with his track “Perspectives” as well as several live shows and a Support Tour through Europe with Parra for Cuva, orbit announces his upcoming EP for April ‘23 alongside a special concert in the Berlin Zeiss Planetarium. The new EP is moving a newly dark sphere into the artist’s universe - a powerful piece of gloomy, vast synthie soundscapes, orbit’s characteristic hazy vocals and soft acoustic guitars.

Lendas is the Brazilian guitarist Fabiano do Nascimento’s fifth album for Now-Again Records. Like his previous albums Prelúdio and Ykytu, Lendas features do Nascimento’s compositions, this time with orchestral arrangements by Vittor Santos and also special participation by Arthur Verocai. Vittor Santos is a composer, arranger, trombonist and music producer from Rio de Janeiro, who has worked in Brazilian music for over thirty years. Do Nascimento and Santos met in Rio in 2017 during the recording of Do Nascimento’s hero, and 70s and 80s Brasilian guitar catalyst Carioca Freitas album Aquarelas. The two bonded over a mutual appreciation for Do Nascimento’s uncle Lúcio and the Bossa Nova star Leny Andrade, both of whom largely influenced Do Nascimento’s musical foundation. In Santos, Do Nascimento found an arranger who was sensitive enough in his orchestrations that he could create an orchestral dialogue between stacks of strings and Do Nascimento’s plaintive plucking. It was only natural to invite the highest regarded, now legendary, 1970s Brasilian arranger, Arthur Verocai, to contribute. Verocai, who had worked with Do Nascimento on his forays in Los Angeles, was pleased to participate. In this way, the circle of old and new, so crucial in Do Nascimento’s work, comes together and flows outwards. “Lendas” translates from Portuguese as "legends,” but the literal translation itself doesn’t describe this album. With Lendas, Do Nascimento recalls memories from places that no longer exist; from fever dreams in the Amazon; from parts of the world we might never see or engage, but can imagine through music. Fabiano Do Nascimento’s Brazilian guitar meets a full orchestra arranged by Vittor Santos and with special participation by Arthur Verocai and his string quartet. Lush yet lively, standing alongside Jorge Ben’s work with Verocai, and Tom Jobim and Baden Powell’s work with Vinicius de Moraes..

Keni Burke's seminal Changes yielded the eternal club classic "Risin' To The Top". You need this record for this iconic steppers anthem alone. However, it's crucial to acknowledge that the whole of Changes, first released in 1982 on RCA but now a tricky one to find, is something truly special. It's a masterpiece of sophisticated 80s groove, containing first class funky soul that sounds as fresh as ever. This is multi-tempo soul music conceived in heaven.

Ace bass player, songwriter, arranger and producer, Keni Burke was discovered by Curtis Mayfield and a childhood member of the Five Stairsteps. Emanating from that magical 81-83 era and pristinely recorded at Philadelphia's legendary Sigma Sound Studios, his third solo album Changes really perfected Keni's groove. It incorporated tight, snappy rhythm arrangements which, despite the era, featured *real drums* courtesy of Steve Ferrone (from Average White Band) to compliment Keni's meaty bass lines. With Dean "Sir" Gant on synths and keyboards and Ed Walsh handling the Vocoder-OBX and Prophet 5, wonderful lines from Earth, Wind & Fire's legendary horn section and hooky rhythm and lead guitar riffs courtesy of Ed "Tree" Walsh, Keni was truly spoiled for excellence. With Doc Gibbs on percussion and Vince Montana on vibes elevating the sensational writing and arrangements, Keni couldn't really go wrong.

“Risin’ To The Top” is undoubtedly the defining crown and lasting legacy of this album. Wth its instantly captivating bassline, slowly creepin' groove and uplifting lyrics, it was a favourite among both the 80s soul steppers and hip-hop crowd and remains canonical to this day. Written by Burke, Allan Felder, and former Chic member Norma Jean Wright, it incredibly failed to garner much American radio play or really trouble the soul charts. Whilst it was an instant classic in the U.K., in the States it took the hip-hop generation and later R&B and hip-hop samples of the tune to finally make it popular, many years later. Of note, Big Daddy Kane sampled it for "Smooth Operator", LL Cool J for "Around The Way Girl", Pete Rock & CL Smooth for "Take You There" and O.C. with "Born 2 Live".

But the highlights are not restricted to this one behemoth. For example, the track which precedes "Risin'" on Side B is another steppers favourite. "One Minute More" is a perfect mid-tempo ballad and the epitome of deep modern soul. A truly timeless work of genius. We, for one, struggle to think of a better song segue than the moment you're still reeling from the intense beauty of "One Minute More" and "Risin'" elegantly stirs into action. Frisson in excelsis. The propulsive, bass-heavy opener "Shakin" is an indisputable cracker and its followed by the timeless mid-tempo class of "Hang Tight". Just gorgeous. Next up, "Can't Get Enough" is another emotional, horn heavy chugger. The side closes with the sparse, tender, floating sl-o-o-w jam "Who Do You Love"; a truly divine ballad. The B-side beings with the title-track, "Changes", a squelchy, melodic boogie banger with fantastic keys, incredible vocals, ace shuffling percussion and spacey synths. It's followed by the ultimate one-two in "One Minute More" and "Risin'" before this sensational set closes with the glorious easy glide "All Night".

An absolutely essential record for fans of deeply soulful modern-funk, Changes was mastered for vinyl by Simon Francis and cut by Cicely Balston for Alchemy at AIR Studios. The artwork was restored at Be With HQ over many painstaking months so, hopefully, this fresh new edition ensures this long-lusted after album is no longer so awkward to find.

DONNA SUMMER gained prominence during the 1970s disco
era, propelled by her incessant and creative driving force
behind the genre’s global popularity, rightly earning the title
“Queen Of Disco” and becoming one of the most
successful recording artists of the entire decade, now
having sold more than 130 Million records worldwide

Donna’s ‘80s close-out album was 1989’s ‘ANOTHER PLACE AND TIME’, which paired her with multi-hit making,
multi-million-selling UK producers Stock Aitken Waterman. The album is widely regarded as the best album they
produced, and which was heavily featured in the recent two-part TV documentary Stock Aitken Waterman:
Legends of Pop.
• The album’s lead single ‘This Time I Know It’s For Real’ was an uplifting, club floorfiller and radio-friendly hit,
peaking at #3 in the UK (#7 on the US Billboard Hot 100), giving Donna her highest charting solo single for more
than a decade.
• Four further singles were released from the album including the two Top 20 hits, ‘I Don’t Wanna Get Hurt’ and
‘Love’s About To Change My Heart’, giving Donna back-to-back UK Top 10 hits for the first time since 1977, as
well as remixed versions of ‘When Love Takes Over You’ and ‘Breakaway’.
• This special Picture Disc edition has a zoetrope effect on Side 2 that incorporates elements from the ‘This Time I
Know It’s For Real’ promo video and which gives a continuous dancing effect. It is best experienced using a
smartphone running a third party stroboscope app.

Rico Puestel is back on Exhibition with a surprise 3-track EP from the Dub realms! Something not necessarily to expect from him right here, right now...

Inspired by the music playing in the record stores on his childhood day visits, Rico zen-likely crafted these special dub tunes that feel like an endless BR Space Night episode from his teenager days...

Im Jahr 1993 beschlossen drei ehemalige Mitglieder der weltbekannten deutschen Metal-Band Running Wild, eine neue Band namens X-Wild zu gründen. Auf der Suche nach einem passenden Sänger stießen sie auf Frank Knight aus Manchester. Sie trafen sich mehrmals zum Songwriting in Rendsburg im Norden Deutschlands, bevor sie ins Studio gingen, um ihr erstes Album "So What!" aufzunehmen. Die Aufnahmen fanden Ende 1993 im berühmten Studio M in Machtsum bei Hildesheim statt. In diesem Studio wurden auch die beiden erfolgreichsten Running Wild-Alben "Death Or Glory" und "Blazon Stone" aufgenommen. Es wurde sogar vom selben Mann gemischt: Jan Nemec. Never change a winning team. Nach dem Erfolg ihres Debütalbums gingen sie 1995 erneut ins Studio, um ihr zweites Album namens "Monster Effect" aufzunehmen. Wieder im Studio M, das inzwischen nach Celle gewechselt war. Die Aufnahmen entstanden mit den gleichen Beteiligten wie auf der ersten Platte. Nach der Veröffentlichung von "Monster Effect" ging die Band als Special Guest der deutschen Band Grave Digger auf Europatournee, um das Album zu promoten. Nach dem Erfolg der ersten beiden Alben nahm die Band 1996 ihr drittes und letztes Album "Savageland" auf , welches jetzt endlich wieder erhältlich gemacht wird.

Im Jahr 1993 beschlossen drei ehemalige Mitglieder der weltbekannten deutschen Metal-Band Running Wild, eine neue Band namens X-Wild zu gründen. Auf der Suche nach einem passenden Sänger stießen sie auf Frank Knight aus Manchester. Sie trafen sich mehrmals zum Songwriting in Rendsburg im Norden Deutschlands, bevor sie ins Studio gingen, um ihr erstes Album "So What!" aufzunehmen. Die Aufnahmen fanden Ende 1993 im berühmten Studio M in Machtsum bei Hildesheim statt. In diesem Studio wurden auch die beiden erfolgreichsten Running Wild-Alben "Death Or Glory" und "Blazon Stone" aufgenommen. Es wurde sogar vom selben Mann gemischt: Jan Nemec. Never change a winning team. Nach dem Erfolg ihres Debütalbums gingen sie 1995 erneut ins Studio, um ihr zweites Album namens "Monster Effect" aufzunehmen. Wieder im Studio M, das inzwischen nach Celle gewechselt war. Die Aufnahmen entstanden mit den gleichen Beteiligten wie auf der ersten Platte. Nach der Veröffentlichung von "Monster Effect" ging die Band als Special Guest der deutschen Band Grave Digger auf Europatournee, um das Album zu promoten. Nach dem Erfolg der ersten beiden Alben nahm die Band 1996 ihr drittes und letztes Album "Savageland" auf , welches jetzt endlich wieder erhältlich gemacht wird.

In the late 70s/early 80s, songwriter Wim van der Stelt composed an instrumental track that he later recorded during leftover studio time after a long recording session as a studio musician.

A special and strange piece of music that is difficult to name precisely in terms of style. You could think of it as a piece of soundtrack or library music, but it's not quite that either. It's just a beautifully written tune that hooks you as a listener. The melody sticks with – and grows on – you. He eventually sold the song for a flat fee and lost track of what had happened with it. In 1982 it was released as a 7” single on the Dutch record label "Friends Records".

For the A-side, the instrumental version was supplemented with English/French vocals and this version was entitled ‘Qui, Mon Amour’. Van der Stelt knew nothing about it until recently, and he has no idea who the singer is, who produced the vocal version or why the name Anoux was used. His original first recorded instrumental ended up on the B-side of this single and was titled 'The Unknown Song'. After the record was released, it failed to chart and was quickly forgotten. Until now! Regrooved is re-releasing the 7” with the original instrumental version as the a-side and the vocal on the back. Hopefully this great song with its melancholy melody now reaches the audience it deserves.
(The original release is credited under the name of the composer, his then-wife, B. Onderstal - for love reasons.)