Search:street music

1961, Port Richmond, Staten Island, NYC: Five kids stumble into a community center, sent by their parents to keep them off the streets and out of trouble. A lifelong friendship is formed over their shared love of doo-wop. The kids start learning harmony and the next thing they know they're cutting records. The group begins to gain steam as they take their act to the packed clubs around New York City. But history has other plans for the boys. First, The Beatles invade America, making doo-wop yesterday's news. Then, the United States invades Vietnam and two of the five boys are sent off to the jungle. Reintroducing: The Splendids. 61 years after their initial formation, the group has reconvened to cut two truly breathtaking records. With three of the five surviving original members weaving together heartfelt harmonies, the group has regenerated themselves and enlisted the help of multi-platinum soul singer Eamon to sing lead. Eamon is no stranger to doo-wop, as he got his start in the music business touring the Northeast as a young boy with a group his father Walter formed in the 90's. With this father and son reunion on these two tracks, the listener is taken back to a time when walking down the street you might come across a gang of youth singing their hearts out on a street corner, serenading the city with their souls. The Splendids hired Los Angeles based producer and multi-instrumentalist Dan Ubick to produce the records and conjure up the retro rhythm and blues sounds of the 1960's. Frequent Eamon collaborator the Oklahoman Benj Heard was then brought on to mix and produce the vocals. Both Ubick and Heard's sonic fingerprints add texture and groove to the groups legacy on 'Cry Baby Cry' and 'Blame My Heart'. Generations have come together from coast-to-coast to take back what history took from them. Enjoy the sweet, sweet sounds of true soul. Enjoy The Splendids.

A very "MGMT MGMT album" which the band describes as "a group of songs about love and change, first and foremost." Descriptors from the band include: bold, flavorful, playful, sincere, optimistic, perceptive. Loss Of Life was produced by MGMT and Patrick Wimberly (Solange, Lil Yachty, MGMT), with mixing and additional production by Dave Fridmann (Flaming Lips, Interpol, Spoon). The album includes the first ever MGMT song with a feature, courtesy Christine and the Queens. The album artwork has been licensed from John Baldessari's estate and is an artwork titled Noses & Ears, Etc. (Part Two). Formed in 2002, MGMT released their era-defining debut album Oracular Spectacular in 2007. One of the most influential albums of the '00’s - it went on to sell over 2 million copies worldwide and was certified Gold or Platinum in over 10 major territories, including double platinum in UK, Platinum in Australia, Gold in France and Platinum in the USA. It gave the world evergreen hits such as “Kids”, “Electric Feel” and “Time to Pretend” which have inspired, and continue to inspire new generations of artists and music fans alike to this day - those three songs combined have been streamed over 2 billion times on audio streaming platforms since released. Always taking an unexpected creative turn at every new record, but always maintaining their cultural and commercial relevance over the subsequent 15 years, MGMT later released three further studio albums: “Congratulations” (2010), “MGMT” (2013) and “Little Dark Age” (2018).

"Days Gone By," the latest creation from Manuel Gonzales (MGUN), showcases his remarkable versatility inside of the contemporary musical landscape. This 9-track EP, released for 100 LIMOUSINES, is a vibrant mosaic of raw, gritty sounds that capture the quintessence of Detroit's musical heritage.

Each track on the album is an immersive experience that echoes the feel of street techno, rhythmic and driving. MGUN's ingenious use of the studio as an instrument is striking, as he shapes tracks that embody the essence of bedroom production. The album vibrates with deep sub-bass frequencies, eerie highs, and peculiar artifacts of found sound.

Gonzales, a name synonymous with raw and unadulterated music, brings his signature touch to the 100 LIMOUSINES catalog, a label rapidly gaining recognition for its bold defiance of genre constraints. "Days Gone By" is more than a mere collection of tracks; it's a deep dive into Gonzales' daily sonic experiments, a testament to his relentless pursuit of pushing the boundaries of techno music.

This album is an essential listen for those who value the fusion of Detroit's robust underground legacy with innovative, avant-garde electronic music. It's a journey designed for those who revel in the unrefined authenticity of analog production and the boundless potential of cross-genre exploration. "Days Gone By”, an absolute experimental body of music, a unique auditory adventure that defies convention.

For Listeners Who Enjoy: Rob Hood, A Guy Called Gerald, RZA, Autechre, UR

World Of Echo are proud to announce the long-awaited reissue, on 17th February, of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993. Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.

Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.

By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups.

The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies. Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.

Movietone would go on to make three fantastic albums for Domino – Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) – and their Peel Sessions were released early in 2022 by Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious.

Anlässlich seines 25. Geburtstags gibt es eine Neuauflage des ersten Albums eines der Gründungsmitglieder des Wu-Tang Clans: "Uncontrolled Substance" von Inspectah Deck erscheint als Doppel-LP auf gelbem Special Effect Vinyl

Die britische Band Archive veröffentlicht ihren Soundtrack zum neuen französischen Film 'Vouleuses' (engl. 'Wingwomen', dt. 'Diebinnen') der Regisseurin Mélanie Laurent, der ab November 2023 bei Netflix läuft. Archives Filmmusik ist eine fesselnde Mischung aus Elektronik, Avantgarde, Post-Rock und Progressive Rock. Die Londoner Band hat eine Fülle musikalischer Elemente gekonnt integriert, um ein immersives Hörpanorama zu schaffen. Die Musik spiegelt die Geschichte der beiden Protagonistinnen Carole und Alex wider, zwei geschickte Diebinnen, die für die Freiheit kämpfen.

Stev, Sull, Rock og Rull is the third studio album from the norwegian rock group Saft. It was originally released in 1973, and got a norwegian grammy for it the following year. Three of of the songs on the album was recorded live on the legendary Ragnarock festival that took place in Oslo same year. These songs where performed together with the norwegian folk musician Sigbjorn Bernhoft Osa. Compared to the two first prog rock leaning records, they were experimenting with more folk influenced music on this one. Well rooted in both norwegian and american folk music. By many fans this is counted to be their best record.

Vor 10 Jahren betrat A$AP Ferg mit "Trap Lord" die Rap Szene - ein Album, das die Energie von Harlem verkörperte und Fergs legendäre "street showmanship" zeigte. Von Hymnen wie "Shabba" bis hin zu "Dump Dump" und dem mit Stars besetzten "Work (Remix)" brachte dieses Album ein jugendliches Flair mit sich. Zur Krönung holte sich Ferg die Rap-Ikonen Bone Thugs-n-Harmony und Onyx mit ins Boot - die perfekte Verbindung von Alt und Neu.

Bristolian producer Claude Cooper returns with hot new single ‘Stay A While’, inspired by the vinyl discoveries made from months of digging and cataloguing the bulging inventory of Bedminster’s Friendly Records record shop.

‘Stay A While’ introduces some delightful twists to Cooper’s psychedelic-funk sound. Blurring the lines between sampling and performance, lush string flourishes are sliced with 6Ts girl-group vocals and rollicking piano chords resulting in a dreamy, end of night, lights up anthem in-the-making. The track is backed with the insistent ‘Dance Tonight’, a ragged bass-boogie surf-rocker that doesn’t take no for an answer.

Cooper’s irrepressible debut album ‘Myriad Sounds' (Jan ‘22) caught the attention of the UK's press and radio alike. Mojo's four star review described it as “Bristol’s beat scene backdrops late night jams”, Uncut enjoyed the "rugged psych-funk romp" and Louder than War declared "it’s vital and vibrant and exactly what we need to kick start the year”. BBC radio DJs including Cerys Matthews, Gideon Coe, Huw Stephens, Jamie Cullum, Lauren Laverne, Stuart Maconie, Tom Ravenscroft rinsed the singles, with Huey Morgan inviting Cooper to contribute a Block Party Mix for his show.

Bonus round 'More Myriad Sounds' (Apr ‘23) added Brooklyn vocalist Brain Fog to the melange with a bounty of pyretic vocal performances. DJ Mag called it “A fierce, kaleidoscopic trip” while Bandcamp Daily said “This album of cross-genre influences is as likely to get it included in any number of best-of columns, with the theme of serious fun as their common element”.

Behind the release is Friendly Records, the best little record shop in Bristol and now a burgeoning record label. Opened by Tom Friend on North Street in 2016, it’s gone on to become a hub of the local musical community. As well as Claude Cooper, the label has reissued two of Alison Cotton’s albums, 'The Twenty-Three Views' by outernational ambient jazz project Floating World Pictures, and Christian Madden & The Enemy Chorus’s organ heavy ‘The Extra Weight’.

Claude Cooper will return with a new album on Friendly Recordings this year.

***After birthing Street Riffs, their hi-definition, hi-energy, statement from 2020, CCR Headcleaner turned inward. The retreat from the pro-studio to the home studio was partially by design and partially decided by global events. Cleaner is very much a pandemic album, more of a homespun head trip than its predecessors. At the same time guitarist, songwriter and spiritual center of the group, Lacey Emmanuel, left the Bay for the shores of Lake Michigan. By most accounts an apocalyptic live-band became by and large a home recording animal. This is most apparent when Headcleaner turns up the balladry. “Don’t Feel the End” is a proto-metal campfire anthem, and “Everyday” hovers somewhere between keyboard misfit John Bender and the White Album. Make no mistake, the record will still be filed under “Punk” at your local record shop. It kicks off with “the brining pt. 2” the hottest slice of Funhouse free-rock that the band has committed to record. “Too Much” gives us its jail abolition rap over a two chord hardcore stomp. In a town (San Francisco) that is experiencing something of a DIY pop renaissance, Headcleaner has always fought to establish the fact that they have actual songs. This is no 70s throwback, but instead an attempt to up the ante. Without all the rock histrionics, technical arrogance and misogyny can the rock riff deliver on its ultimate promise: heavy music for total liberation. All tracks were mixed and lovingly fucked with by none other than Eric Bauer at his Bauer Mansion (RIP) Chinatown SF.

Arto Lindsay's 7 Types of Ambiguity - A Parade is a stereo mix of an original sound installation that was installed at ECAL / University of Arts and Design, Lausanne, Switzerland, in 2022 as part of a research project led by Thibault Walter and Stéphane Kropf called Phantom Power. The idea was simple, and yet the process and level of collaborative work implied was enormous: how to recreate a carnival parade -of the kind Arto had witnessed in the streets of Bahia in Brazil numerous times- inside a white cube and using only sound. How to replicate the complex intrications of those stories, heard or fantasized, the smaller blocos of musicians crossing the path of blasting sound systems mounted on trucks, those religious rythmes mingling with popular traditions, class and race struggle at street level " prime example of the proximity of sexuality and religion, of tradition and novelty and a place for true social innovation " and the effect it all has on the bystanders that are completely part, or even become the subjects of the whole?
Arto went to Salvador de Bahia with a narrative of a parade in his mind, and recorded excerpts in a terreiro, a temple of Afro-Brazilian religion, with four musicians leader of blocos, three of which he had previously worked with. Those mixed tracks were crafted into a sound sculpture directly in the room in Lausanne on a 27 channels immersive installation, adding layers of meaning within the room itself, hallucinations, weather patterns or places, like when the parade stops during a rain shower or gets so close to the ocean as to lose the sound of the percussions in waves.
This 26'30'' composition was later remixed, the spiral of speakers on the floor of the room engraved on a vinyl, and the position of the listener defined for your experience of this record, Arto Lindsay 7 Types of Ambiguity - A Parade, out on February 2nd 2024 on No Salad Records.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - Joseph “Candido” RodrÌguez - Candido was mentored by Tito Punete, and his debut features a fantastic mix of fiery Salsa, Latin Jazz and Sweet Latin Soul. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

The year was 1994 and hip hop music was moving in a new and different direction. Breaking ground on this new frontier was a combination of Brooklyn and Uptown Harlem New York's finest. Melodic structures mixed with unsigned hype rugged flows created an intoxicating concoction formulated as the Brooklyn Uptown Connection.

We present to you, the World Wide Street anthem "Where My Homiez" brought to you by the Legendary Classic rap duo crew better known as ILL AL SKRATCH. This was their debut 12" single now available for the first time on a Special Limited Edition 7" Vinyl !

"Where my Homiez was written out of acknowledgment and respect for all of our fallen whether they be male or female who have passed on, gone missing or lost in the Complex Industrial Prison System"

Legendary Hip Hop Producer and Emcee Large Pro aka The Large Professor returns with his highly anticipated 3rd instrumental album, BEATZ VOLUME 3. Back with his traditional signature Boomp Bap sound, LP brings you more well-crafted soulful BEATZ that you can rhyme to, DJ with, skateboard, or even dance to! This album features 10 bangers that are sure to make DJs want doubles to back spin!

Large Professor states:
"Beatz Vol. 3 was made to lift the spirits. From the youthful "Let It Fly" to the ghetto love story sounds of "Rooftop Love", all of the Beatz on this project were made to make the listener feel good. After learning more about my family history, I had to dedicate the song "Ancestors" to my predecessors who are in the "Friendly Skies". Overall, I want to keep that original Boomp Bap style of hip hop alive for my generation, and the real ones to follow."

Large Professor is a founding member of the Hip Hop group Main Source. In 1991 their classic debut album "Breaking Atoms" introduced the world to NAS, who was featured on the track "Live at the Barbeque". LP's debut solo album "The LP" (PSP006) was finally released in 2009 featuring hits like "IJuswannachill", "Mad Scientist" & More.

Some of Large Pro's production and remix credits include tracks for NAS, Eric B. & Rakim, A Tribe Called Quest, Slick Rick, Pete Rock & CL Smooth, Tragedy Khadafi, Mobb Deep, Busta Rhymes, Big Daddy Kane, Lord Finesse, Akinyele, Masta Ace, Czarface, Cormega and many more. Recent production credits: RawWattage "Eyez" (2020), "Pressure" Soundtrack (2020), The Lox/Westside Gunn & Benny "Think of the Lox" (2021), Al Skratch "Be Original" (2021), Neek The Exotic ft. Large Pro "XtraExotic" (album) (2021), K.McGyver Hemisphere (2021), Papoose "Represent" (2021), Papoose "Cold Winter" (2021) and the "All The Streets are Silent" Motion Picture Soundtrack (2021).

Legendary Hip Hop Producer and Emcee Large Pro aka The Large Professor returns with his highly anticipated 3rd instrumental album, BEATZ VOLUME 3. Back with his traditional signature Boomp Bap sound, LP brings you more well-crafted soulful BEATZ that you can rhyme to, DJ with, skateboard, or even dance to! This album features 10 bangers that are sure to make DJs want doubles to back spin!

Large Professor states:
"Beatz Vol. 3 was made to lift the spirits. From the youthful "Let It Fly" to the ghetto love story sounds of "Rooftop Love", all of the Beatz on this project were made to make the listener feel good. After learning more about my family history, I had to dedicate the song "Ancestors" to my predecessors who are in the "Friendly Skies". Overall, I want to keep that original Boomp Bap style of hip hop alive for my generation, and the real ones to follow."

Large Professor is a founding member of the Hip Hop group Main Source. In 1991 their classic debut album "Breaking Atoms" introduced the world to NAS, who was featured on the track "Live at the Barbeque". LP's debut solo album "The LP" (PSP006) was finally released in 2009 featuring hits like "IJuswannachill", "Mad Scientist" & More.

Some of Large Pro's production and remix credits include tracks for NAS, Eric B. & Rakim, A Tribe Called Quest, Slick Rick, Pete Rock & CL Smooth, Tragedy Khadafi, Mobb Deep, Busta Rhymes, Big Daddy Kane, Lord Finesse, Akinyele, Masta Ace, Czarface, Cormega and many more. Recent production credits: RawWattage "Eyez" (2020), "Pressure" Soundtrack (2020), The Lox/Westside Gunn & Benny "Think of the Lox" (2021), Al Skratch "Be Original" (2021), Neek The Exotic ft. Large Pro "XtraExotic" (album) (2021), K.McGyver Hemisphere (2021), Papoose "Represent" (2021), Papoose "Cold Winter" (2021) and the "All The Streets are Silent" Motion Picture Soundtrack (2021).

D Double E is one UK rap's most respected, celebrated and genre defining artists, shelling down radio sets, raves and having countless solo hits. Starting off in Jungle and UK garage, he began life in grime as a member of the N.A.S.T.Y. Crew alongside Ghetts, Kano and Jammer before founding the Newham Generals with Footsie. From solo releases and much loved classics including ‘Street Fighter Riddim’ and ‘Woo Riddim’, in 2018 he released his debut solo album Jackuum to critical acclaim. Subsequent releases included the invigorated and daring D.O.N and most recent Bluku! Bluku! 2 have led the legendary artist to receive consistent praise and support from the likes of The Fader, i-D, Crack, The Guardian, VICE, Complex, Highsnobiety, COLORS, DJ Target and more. Boasting artistic collaborations with everyone from Kenny Allstar, Unknown T, Skepta, Ghetts, Novelist, Shy FX, Backroad Gee and more, D Double E has also made an impact in his career resounding far outside of UK rap with big brands. He wrote the original track for the viral and now iconic IKEA Christmas Advert, put his lyrical magic touch on an advert for Pepsi and more. Most recently he has been interviewed as part of the BBC documentary “8 Bar: The Evolution of Grime” and has been tapped for collaborations with Clarks, Palace Skateboards and others.

Sie sind ein großer Fan von Videospielen? Entdecken Sie eine Zusammenstellung der besten Videospiel-Soundtracks, aufgeführt von Londons besten Filmmusikern, London Music Works. Von 'Call Of Duty' über 'The Legend Of Zelda' bis zu 'World Of Warcraft' – lassen Sie sich von diesen Videospiel-Musikuniversen überraschen! Gepresst auf klarem Doppelvinyl.

The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape. Amidst the crumbling infrastructure and economic decline, neighbourhoods bore the scars of disinvestment, reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. Graffiti adorned subway cars and buildings, expressing both social unrest and the vibrant creativity of the community. Despite the challenges, there was a resilient spirit among residents, evidenced by grassroots efforts to address social issues. The Bronx during this era was a dynamic yet tumultuous mix of cultural expression, social struggle, and the determined spirit of a community facing adversity. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds…). This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The hypnotic rhythms, infectious guitar riffs, and impassioned vocals reflect the Ghetto Brothers' commitment to expressing their unique experiences and uplifting their community through the universal language of music. "Power-Fuerza" is not just an album; it's a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the

raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage. Embrace the timeless resonance of the Ghetto Brothers’ “Power-Fuerza”, one of the best Latin funk albums ever recorded…

All true improvisation involves an element of chance: the coming together of a nexus of influences impulses and actions that result in spontaneous creation. Often in the world of jazz these creative sparks blaze briefly in performance, and then disappear as the sonic vibrations fade from the air, but sometimes chance intervenes again, and moments thought to be gone forever can resurface in unexpected ways. As master drummer Jeff Williams sorted through his archive of cassette tapes from his extensive international career, he had no idea that hidden within it would be a recording of a 1991 evening when he joined storied NYC legend David Liebman for a set of spontaneous performances. Reunited together fifteen years after the breakup of their seminal band Lookout Farm in 1976, the two players reaffirmed their deep musical bond with a set of free-flowing exploratory dialogues in front of a receptive audience. Believed lost for many years, these performances can now be experienced again, with all their fearless freshness and pure committed musicianship undimmed by the passage of time.

Jeff Williams has established a formidable reputation as a drummer, composer, educator and bandleader on both sides of the Atlantic. His relationship with Liebman was forged in the exciting, expansive atmosphere of the New York scene in the early 70s: the meeting of Williams, the laid back Midwesterner, and Liebman, the mercurial, quintessential New Yorker, was an inspired coming together of opposites that always made the creative sparks fly. Williams remembers the journey that led to the Bar Room 432 on that 1991 evening:

“Just as I was leaving my home town of Oberlin, Ohio to move to New York City in 1971, I was given David Liebman’s phone number by someone who told me that Dave had started an organisation for jazz musicians there. I knew of Dave, from Ten Wheel Drive and John McLaughin’s My Goals Beyond, but I couldn’t have imagined what a significant role he would play in my musical life. Shortly afterwards, Dave would leave Elvin Jones and Miles Davis to start his own band, with Richie Beirach, Frank Tusa, and myself, (later adding Badal Roy), naming it Lookout Farm. We released two albums on ECM and one on A&M to wide critical acclaim, and toured across Europe, Japan, India and the US.”

“Following the dissolution of Lookout Farm, Dave and I embarked on a short duo tour opening for Gary Burton. That would be the last time the two of us would play until the occasion of this recording, fifteen years later.”

“Fast forward to 1991 when I discovered an attractive bar located on the far West Side of 14th Street in Manhattan. Bar Room 432 would become a six night a week jazz club for a few years, providing me, and many others, with the opportunity to perform our music. Catching wind of this, Dave suggested we do a duo performance there.”

“Luckily, I recorded it.There was no preparation, no set music to be played - we simply improvised, picking up where we’d left off. David’s mastery of the soprano saxophone is in full bloom here, as well as his incredibly resourceful musical mind.”

The performances are revelatory, moving in pure improvisation from clear, songlike melody to furious density, from ambience to pulsing groove, from light into darkness and back again. Cleaned up and remastered by Alex Bonney, the sound of the tape captures the warm, wood-lined ambience of the room, allowing the full power and dynamics of William’s drums and the warmth and fullness of Liebmans’ soprano sax to sing out, engaging the contemporary listener just as it engaged the hip Manhattan crowd thirty three years ago.

"Flower power psych pop that’ll blow you away! Exploring the jangly folk and garage sounds of the late ‘60s, the Superfine Dandelion picks a wide variety of colorful folk, country and jug band influences and puts a psychedelic tint on their all-original compositions. Our favored stereo mix, pressed on blue vinyl!

Formed in 1967, this Phoenix, AZ band would only last for a year before parting ways, leaving behind just one album – a fate many Mainstream artists ultimately faced, no matter how quality their style and sound was. The Superfine Dandelion features Mike McFadden (formerly of the garage rockin’ Mile Ends) and Rick Anderson (founding member of the Tubes) showcasing the sound of the Summer of Love – kaleidoscopic, sunny & groovy!

“While the cheeriest cuts have the sunny folk-pop/rock feel of, say, some of the L.A. folk-rock issued by the Dunhill label (‘Don't Try to Call Me’ recalls P.F. Sloan) or the Monkees, their self-titled LP had a good deal of sub-Jefferson Airplane folk-psych-rock, with plenty of minor chords, harmonies, and wistful lyrics. Then ‘Janie's Tomb’ and ‘It's Raining’ have a jokey jug band vibe, like a cross between the Charlatans and the Lovin' Spoonful.” – Richie Unterberger (AllMusic)"

.

The new album The Commune Of Nightmares by noise artist David Wallraf is a tapeloop-based musical game of cadavre exquis, a technique developed by surrealist artists.

David Wallraf is a noise artist and theorist living in Hamburg. His artistic work deals with the repressed and uncanny sonic residues of quotidian life, crafting soundtracks for the creeping disaster we inhabit. His works have been released on numerous international tape labels. A recent interest of his is the live scoring of silent films, including works by Luis Buñuel, Maya Deren and Jean Genet. His PhD thesis Grenzen des Hörens. Noise und die Akustik des Politischen (Limits of Hearing.Noise and the Acoustics of the Political) has been published in German, an English translation is in progress.

The Commune of Nightmares stems from the idea that nightmares are the logical reverse of 'capitalist realism': an uncanny undercurrent of daily experiences and an algorithmic haunting of dreams that at the same time is a shared – communal – experience of everybody. All songs are based on tapeloops that were cut arbitrarily from a stash of cassettes, some of which found on the street, others from a stockpile of 4 track tapes recorded in the late 90s and early 2000s – a musical game of cadavre exquis played with random strangers and former versions of DW.

Credits:

All music composed and recorded by David Wallraf in Hamburg-Wilhelmsburg, first half of 2023

In the midst of the pandemic, Enjoy Jazz Festival has developed a musical project whose members will be recruited new every year and then debut at a concert on UNESCO International Jazz Day, April 30. The members come from the jazz scene of the German state of Baden-Württemberg. "We wanted," festival director Rainer Kern stresses, "not only to revitalize the fragile network of outstanding creative minds, but also to rethink it artistically as a rolling system." Two experienced and renowned band leaders, Alexandra Lehmler and Erwin Ditzner, now curate an annually changing ensemble of outstanding artists of the most diverse provenance. As part of a voluntary commitment, the ensemble is to be organized in a sustainable, diverse, and, in three years at the latest, completely gender-equal
and climate-fair manner. Thus, as a commitment to the goals of the "European/Local Green Deal" (and with reference to the jazz standard "On Green Dolphin Street"), the name Green Dolphin Orchestra was created. Another special feature: The renowned Oriental Music Academy Mannheim (OMM), a long-standing partner of the Enjoy Jazz Festival, receives a white card, so that musicians with a migration background or protagonists from other musical cultures are always part of this "orchestra of many" and constantly expand its sound language.

The project has a free improvisation approach with changing personnel. "We actually even thought of drawing lots for the different formats within the band pool," explains saxophonist Alexandra Lehmler. "We decided against it in the case of the first concert and instead put together curated formations." And drummer Erwin Ditzner adds, "In principle, however, this procedure remains an option." It was important to the two of them to also mix the genres represented by the individual musicians in such a way that free space for something truly new could emerge. "We wanted to challenge ourselves," Lehmler sums it up. The only restriction: a time code was assigned to each sub-project. "Each formation was given a time limit, although it was possible to virtually override this limit by spontaneous
reshuffling," says Ditzner, explaining one central of the few rules. "In concrete terms, this meant that after eight minutes, the improvisation in progress was either ended or new musicians simply joined in the ongoing creative process, while others took themselves out of the game."

Alexandra Lehmler summarizes the artistic impact of the ensemble as follows: "We really cross-fertilize each other. In order to push this process even further, we forced ourselves when putting together the ensemble not to fall back on our 'favorite playing partners', i.e. musicians with whom one feels particularly at home. In other words, we consciously wanted to step out of our comfort zone with this project." The present pieces were recorded live in Heidelberg during the ensemble's premiere concert on the occasion of International Jazz Day on April 30, 2022.

- Newly Expanded Deluxe Double LP Edition! - Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl - Previously unreleased session outtake of "Cold Hard Times" plus demos of obscure Hazlewood compositions "Drums," "The - Start," "Susie," "Miracle on 19th Street," and "Peppermint Morning" - 30 total tracks - Remastered by GRAMMYr-nominated mastering engineer John Baldwin - Liner notes by GRAMMYr-nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom - Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter - Double LP housed in a gatefold jacket // DESCRIPTION "Pimps_ whores_ pushers_ dopers_ gangsters_ and bottom of the human chain shit-heels. Now you're probably thinking I'm writing about major record companies and their unscrupulous executives_ and lawyers. You could be right_ but this time_ YOU'RE WRONG! I'm describing the characters in my album `13' _Some I knew_ some I invented _ some are true_ some are false_ some I liked_ some I didn't. But they all had a story to tell and I told it_none of `em seem to care_ and I don't either_ have fun_" - Lee Hazlewood "He (Lee) took my voice off the album and put his voice on the album. Now don't forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that's the way he wanted it." - Larry Marks The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (LHI producer, artist and the voice of the first Scooby-Doo theme). Larry's concept was to take Hazlewood's strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry's record. The tapes were taken to Sweden, Larry's voice was wiped and Hazlewood's was dubbed_ 13 was born.

Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”

Teddy Bryant's second album, "Dinner For Two," is a diverse collection of music that spans multiple genres, including Hip Hop, Street Soul, Neo Soul, Contemporary Jazz, Funk, and House. Despite its many layers, the album maintains a cohesive theme. Teddy aimed to create a cinematic experience for the listener, with each song taking them on a unique adventure. The album features collaborations with Stimulator Jones, Morris Mobley, and Stella Zekri Ouiddir, and is dedicated to exploring themes of romance, adventure, and imagination through music that inspires dancing, loving, and grooving. Teddy Bryant is thrilled to share this incredible work of art with the world.

Consisting of MCs A+, Phesto, Opio and Tajai (with production by A+, Domino, Del the Funky Homosapien, Jay Biz and Casual), East Oakland’s Souls of Mischief burst onto the scene in the early 90s with an impact that few other West Coast artists had at the time. Culminating in the release of their classic debut, they created a bouillabaisse that was most parts West Coast swagger but - similar to The D.O.C. and Cypress Hill - with a sonic approach that could just as well have stepped off the streets of New York City. Recorded in less than two weeks at San Francisco's Hyde Street Studios, 93 ‘til Infinity doesn’t suffer from a single freshman jitter or misstep. It’s a fully-realized effort, packed from start to finish with ridiculous lyricism - all carried out in impressive four-part, tag-team style - and backed by a wide range of musical possibilities, from hard boom-bap to 70s CTI-jazz-sprinkled grooves. But without worthy music, the group’s high-level lyricism could have fallen by the wayside. Digging deep into crates that other producers had yet to mine, the production crew gave the quartet exactly what they needed, with unpredictable rolling basslines, dusty drums and jazz keyboard and horn stabs and swirls. Non-singles like Disseshowedo (produced by Domino and Jay Biz), Batting Practice (Casual), Limitations (Jay Biz, with Del and Casual contributing verses) and What A Way To Go Out (Domino) made sure that the fast-forward button remained untouched. Get On Down is proud to present a 30th Anniversary pressing of this west coast Hip-Hop classic on cloudy blue and cloudy yellow vinyl, packaged in a gatefold jacket with liner notes and a commemorative 30th Anniversary stamped numbered OBI.

The first in a four-volume retrospective of Kuduro and tarraxinha pioneer DJ ZNOBIA. Incoming unto the world for a very long time from the musseke of Rangel, home of Casa da Mé&e Ju, in the Angolan capital o Ldanda, one if not the pivotal visionary of his country’s music electronic and digital modernism DJ Znobia, o/fum/an inventor. Usually considered the first purveyor of the fluency regarding tarraxinha (drinking in its foundational slow shuffle from the city of Benguela), as well as a main player in free thinking, spontaneous, funny, depressive, silly, melancholic, hilarious all encompassing beats within kuduro, batida, techno and beyond, his influence as a producer, DJ, MC and public fiuce has had a great imprint in Angolan culture for the better part of the last three ecades. This venture went through over 700 tracks of his archive (more than double are lost in the meantime between his and the NNT library) in order to collaboratively select a fiercely representative albeit balanced affair from his production, between instrumentals for sung kuduro, instrumental kuduro/batida, sung and instrumental tarraxinha, and other creative styling from the late 90’s to the mid 2000’s. Forms now heard around the world which started here, with Znobia a decisively influential contributor, along with several of his peers and collaborators, which will be also in evidence in this four volume retrospective. His story is way too far flung for this endeavor to try and make a simple narrative out of it. You have to be him, you have to be within this territory, and we ask of the people who will approach to ask him what has happened with the history of this music and what is the current reality at ground zero Luanda, as he is a mirror and visionary of its streets, in a country with such complicated dynamics and brutal treatment of its citizens. To try to put in a clean slate for this conversation, let’s talk to a genius of street music. Your question. First, here's the opening collection of what we have to share with you.

"I don't like rap music at all. I don't think it's music. It's just a beat and rapping."
Nina Simone

Straight off the streets, Hip-Hop burst onto the scene, leaving no one indifferent, igniting a cultural revolution that would shape generations to come. Now, in celebration of its 50-year anniversary, Art That Kills proudly presents HHCOMP01.

HHCOMP01 aims to capture the freshness and innocence of a genre in the midst of defining itself. As the world embraced this new phenomenon, it was a time of raw creativity and unbridled expression.

With a selection of seven fantastic tracks stepped out of the underground, HHCOMP01 is a window into the origins of a genre that has resonated with countless hearts and minds.

NORMANS was born on the dirty streets of LA and baptized in the punk rich waters of Hermosa Beach; the city that gave us Black Flag, Red Kross, Minutemen and more.

Years of exposure and participation in the myriad of genres and sounds that make up the vibrant music scene resulted in a multi-genre-bending, bass and synth fueled cacophony that pays homage to the ghosts of The Jesus Lizard, Suicide, Butthole Surfers and The Birthday Party.

NORMANS was born on the dirty streets of LA and baptized in the punk rich waters of Hermosa Beach; the city that gave us Black Flag, Red Kross, Minutemen and more.

Years of exposure and participation in the myriad of genres and sounds that make up the vibrant music scene resulted in a multi-genre-bending, bass and synth fueled cacophony that pays homage to the ghosts of The Jesus Lizard, Suicide, Butthole Surfers and The Birthday Party.

Kid Cudis neues Album „INSANO” ist ab dem 15.09. auf CD und Vinyl erhältlich!

Als einer der einflussreichsten Rapper und Produzenten des letzten Jahrzehntes, beeinflusste er nachhaltig eine Generation an Rappern wie Travis Scott, Juice WRLD, Drake und Kanye West. Mit seinem 9. Album liefert der 2-fache Grammy-Gewinner beeindruckende 21 Tracks ab und beginnt somit nach Abschluss der ”Man On The Moon”-Trilogy und seinem letzten Album ”Entergalactic”, dem Soundtrack zur gleichnamigen Netflix-Serie, eine neue musikalische Era!

Music For Dreams are proud to announce the release of Jacob Gurevitsch’ new album El Terreno. It is the fourth LP from the Danish guitarist with the Spanish guitar, whose world of misty, Mediterranean romance is charming listeners all over the world.

El Terreno is named after the neighborhood in Palma, Mallorca, in which Gurevitsch wrote it over the past couple of years. The tranquility and beauty of this setting is reflected in the music: eight songs of Gurevitsch’ Spanish guitar meandering through the cobblestone streets, idling on town squares frozen in the afternoon sun, drifting on the perfumed evening air.

Two special guests feature on the album. On ‘For Your Love’ the legendary Cuban jazz trumpetist Arturo Sandoval is invited to play along. And on ‘Santa Teresa’ the esteemed Danish rock singer Annisette lends her characteristic smoky phrases to the drama. Throughout the album, Gurevitsch’ Spanish guitar is accompanied by a band of drums, percussion, bass and keyboards.

Ghetts proudly presents new album, On Purpose, With Purpose. The record - which follows 2021’s epic Conflict Of Interest - continues the ongoing artistic evolution and unstoppable rise of one of the UK’s greatest rappers.

Ghetts returns sounding sharper, more unflinchingly honest and boldly confident than ever before, and is joined by several guests, including; Kano, Wretch 32, Sampha, Unknown T, Dexta Daps and Moonchild Sanelly.

As well as achieving dizzying new heights as a songwriter and rapper, On Purpose, With Purpose finds Ghetts expanding his sonic palette by reaching out beyond rap and incorporating elements of wider musical influences such as soul (Double Standards), R&B (Mine), gospel (Hallelujah), Afrobeat and amapiano (Gbedu, Blessings, Tumbi).

SOURCED FROM THE ORIGINAL MASTER TAPES: 2LP SET PRESENTS 1991 ALBUM IN 45RPM SPEED FOR FIRST TIME.

PCM Digital Master to Analog Console to Lathe.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group’s swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity’s 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band’s sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits’ playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity’s definitive-sounding set also brings into transparent view Knopfler’s finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here’s a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler’s decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era’s prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler’s clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group’s oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It’s evident in the humorous satire of “Heavy Fuel,” closeted desperation of the witty “Calling Elvis,” and shake-and-bake bounce of “The Bug.” It pours from the album’s darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of “When It Comes to You.”

Hinting at the open-minded approaches and boundless curiosity he’d embrace as a solo artist, Knopfler doesn’t limit himself when it comes to style or subject matter. Look no further than “You and Your Friend,” a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album’s deep cuts, “Iron Hand,” comes on as one of the band’s most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners’ strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

“Every victory has a taste that’s bittersweet,” sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

All the music from the iconic Mr Benn cartoons, available for the only time. Recorded in two sessions - Olympic Studios in 1969, and Gateway Studios in 2004. All the music was written by Duncan Lamont, and featured some iconic session musicians including

Kenny Wheeler, Ray Swinfield and Duncan Lamont himself. Ray Swinfield used the same instruments as he used on The Beatles Penny Lane on these recordings. Mr Benn has an enduring popularity, and was shown on The BBC every year from 1971 - 1999, then on Nick Jnr till 2010. The sessions have ben fully remastered, and sound fabulous! It was due to Nick Jnr that a 14th Mr Benn cartoon was made, and the second session features re-working of some of the original tunes as well as lots of new tunes for Gladiator.

The packaging features an insert with Mr Benn dressed in all his adventure outfits, and a game to match all the souvenirs to each adventure. Not to be missed. A must for everybody that grew up with Mr Benn. All the sleeve notes have been written by The Mr Benn cartoon producer Clive Juster, and are full of insights from the recording sessions.