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Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Tape
Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of
fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas.

It was during his time with Miss Pottinger that Ossie began to produce records for
himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

For this release we have compiled some of the version sides to those releases. Dub still being an integral part of the Reggae Sound System Sound. So sit back and listen to what Black Solidarity, one of the most important and often overlooked labels were bringing to the dance, dubwise, back in those heady 1980’s times.

With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

Forty Below Records releases 'Weight of the World', the new album by
award-winning Blues and Roots musician Joe Louis Walker
A Blues Hall of Fame inductee and six- time Blues Music Award winner, NPR
described Walker as "a legendary boundary- pushing icon of modern blues." His
2015 release, 'Everyone Wants a Piece', was nominated for the Contemporary
Blues Grammy. In addition, Walker dueted with B.B. King on his Grammy Awardwinning Blues Summit album and played guitar on James Cotton's Grammywinning album 'Deep in the Blues'. Recorded with Producer Eric Corne (John
Mayall, Walter Trout, Sugaray Rayford), 'Weight of the World' showcases the depth
of Walker's influences and the prowess with which he commands different
genres; be it Soul, "The Weight of the World," "Is it a Matter of Time," "Don't Walk
Out That Door," Gospel, "Hello, it's the Blues," Funk, "Count Your Chickens," New
Orleans 2nd line, "Waking Up the Dead," Indie Blues "Root Down," Rock N Roll,
"Blue Mirror," Contemporary Blues, "Bed of Roses," or Jazz, "You Got Me Whipped."
It's a compelling album that displays a master at the height of his game. They say
Roots musicians age like fine wine, which certainly rings true with Walker. 'Weight
of the World' is a resounding statement and quite possibly the beginning of the
greatest chapter of a storied career

Forty Below Records releases 'Weight of the World', the new album by
award-winning Blues and Roots musician Joe Louis Walker
A Blues Hall of Fame inductee and six- time Blues Music Award winner, NPR
described Walker as "a legendary boundary- pushing icon of modern blues." His
2015 release, 'Everyone Wants a Piece', was nominated for the Contemporary
Blues Grammy. In addition, Walker dueted with B.B. King on his Grammy Awardwinning Blues Summit album and played guitar on James Cotton's Grammywinning album 'Deep in the Blues'. Recorded with Producer Eric Corne (John
Mayall, Walter Trout, Sugaray Rayford), 'Weight of the World' showcases the depth
of Walker's influences and the prowess with which he commands different
genres; be it Soul, "The Weight of the World," "Is it a Matter of Time," "Don't Walk
Out That Door," Gospel, "Hello, it's the Blues," Funk, "Count Your Chickens," New
Orleans 2nd line, "Waking Up the Dead," Indie Blues "Root Down," Rock N Roll,
"Blue Mirror," Contemporary Blues, "Bed of Roses," or Jazz, "You Got Me Whipped."
It's a compelling album that displays a master at the height of his game. They say
Roots musicians age like fine wine, which certainly rings true with Walker. 'Weight
of the World' is a resounding statement and quite possibly the beginning of the
greatest chapter of a storied career

Hoshina Anniversary hails from the westside of Tokyo and a place called Hachioj. His musical inspirations though come from an otherworldly place of rhythm, hyper-real melody and off-grid rhythm. This HakkyouShisou album on the mighty US label Constellation Tatsu is a fluid experiment which draws on experimental dance, jazz fusion, electronica and Japanese heritage. The sound design throughout is shiny and futuristic, particularly on the busy melodic patterns and loopy synth madness of 'Karoushi' which sounds like a computer left to its own devices after too much sugar. 'Dakuten' is a tripped out dub with sequenced progressions and lumpy drums, and 'Dareka No Rettoukan Wo Nomikomu' sounds like a house cut from Detroit's Omar S.

Renaldo Domino
Chicago Soul Legend
Born March 27th 1950) from “The Valley” around 49th & Forestville.
He was nicknamed Domino because his voice was sweet as sugar, Domino being an American sugar brand name.
Renaldo Domino blasted onto the fertile Chicago soul scene of the late 60's with a voice as sweet as sugar and deep grooves that sound just as fresh five decades later. Releasing singles on Mercury subsidiaries Smash and Blue Rock, and later Twinight records, Renaldo’s all-too-brief career has still managed to leave an impact to all those lucky enough to hear it.
He had a relatively short recording career releasing only 7 singles between 1967-1971. His first 45 was recorded whilst he was still attending high school on a tiny label Arnell on a low budget.
The Arnell 45 did well enough for him to get signed to Smash (a Mercury subsidiary) where he released two 45s, re-recording 'I'm Hip To Your Game' for his second Smash single, as it's a different version to the one released on Arnell. His third 45 was released on another Mercury subsidiary, the now revived Blue Rock which had been 'suspended' since 1966 and reacivated in 1968. The records sold reasonably well locally but Dominio left to join Twinight, feeling that his material wasn't being promoted by Mercury, where he released a further three singles between 1969-71. Twinight released him in 1971 and despite trying to get another recording contract he was unsuccessful and left the music business to pursue another career.
He was managed by William Sandy Johnson who also managed LaShawn Collins and Wendy Woods who recorded on Johnson's Sincere label, the only 2 releases on the label. He also wrote Renaldo Domino's first 4 A sides: 'I'm Getting Nearer To Your Love', 'Just Say The Word', 'Not Too Cool To Cry', 'Let Me Come Within'. In addition he wrote 'Do It Now' for Wendy Woods and the flip to LaShawn Collin's classic 'What You Gonna Do Now', 'Girl Chooses The Boy'.
Renaldo returned to the spotlight in 2007 when the Chicago reissue powerhouse Numero Group put him on the cover of their deluxe box set Eccentric Soul: Twinight's Lunar Rotation (which included other greats Syl Johnson, The Notations, and many more). Renaldo’s performing career began to flourish once again with shows around country.
In early 2019 Renaldo teamed up with producer Jeremy Kay and arranger JB Flatt and set out to record new tracks that would live up to Renaldo’s great early records. Assembling a crack team of Brooklyn’s best they pulled out all the stops, creating a mix between the lush arrangements of Chicago’s early soul style and the hard-hitting beat of current Brooklyn soul. The new single “No Laggin’ & Draggin’” / “Give Up The Love”, released Feb 2020, is now available on Colemine Records.
Backed by The Heavy Sounds, Renaldo’s live performances continue to deliver with passion and precision, making new fans young and old.

​

Within any creative expression about love there's a shared experience, a sentiment hard to articulate but understood through emotion. One of the defining examples of a song that holds such sincerity is 'My Heart Is Broken' by 'The Four Dudes'.

Charles 'Pooky' Russell, the lead singer of 'The Four Dudes' shares his story of a broken heart; his ambition to pursue a life immersed in music is what led Charles to leave his hometown of San Antonio for Houston and in doing so, leaving his lady. Charles' music career began whilst studying at Sam Houston High during the mid-60s. During choir is where he met Reginald Whitaker & Lawrence Alexander, and the trio would go on to establish their first vocal harmony group, 'The Three Dudes'. The Dudes, inspired by groups such as The Cadillacs & The Platters, would gain a strong local following that led to their first single 'Sad Little Boy' & 'I'm Beggin' You' produced & released in 1967 on E.J. Henke's 'Satin' label.

By 1969, 'The Three Dudes' had become 'The Four Dudes' with the addition of Kenneth Ball. The Dudes had made the decision to pursue a full time career with their music and the opportunities available Houston propelled the move. Within the first year 'The Four Dudes' had found themselves a manager, James Davis, whom pieced the vocal group with Houston's own 'The Heavy Accents Band'. The group were gaining notoriety around town, performing several times a week, which led Davis to bring the outfit into the studio to release a single on his independent label, 'Sivad-J'. It was when Davis heard 'My Heart Is Broken' for the first time that they decided this would be the single, and within the same year would be recorded at SugarHill Studios & released as a 7" single.

The sincerity of the song is what serenaded Houston across the airwaves in 69', a staple for George 'Boogaloo' Frazier on his show for KYOK 1590 AM amongst many others. The single became a local hit however, due to the lack of distribution and small pressing, the single barely made it out the city limits. 'The Four Dudes' continued to perform in Houston for 3/4 more years before heading to Philadelphia and forming a group called 'Image'.

For the first time since its 1969 release, 'The Four Dudes' single is once again available through Symphonical Records as a limited 7" pressing. Licensed directly through the Davis family with the approval of Charles Russell.

One amp. One mic. One person. Countless hooks. That’s the Dazy formula. Since first releasing the single Bright Lights b/w Accelerate in August 2020, Dazy mastermind James Goodson has been writing, recording, and releasing new music like a man on the hunt to find the best pop hook, and he won’t stop until he’s put all of them into his songs. Show- casing a unique set of influences, Dazy’s sound marries thumping drum machine beats, blasts of feeding back guitar, and sugar-sweet hooks into something that sounds like God- flesh covering Oasis—or maybe the other way around. With lean songwriting that recalls Teenage Fanclub but a home-re- corded production style better suited for Big Black, Goodson builds a constant churn of abrasive, consuming noise and then makes it catchier than anyone else would ever dare to.

Is Cory Okay? Opening on pads that sounds like a warm LA sunrise and bubbling with the characteristic dorky, oddball mawkishness that is Tungz 101, ‘Is Cory Okay?’ blossoms into a sugar-glass 80s pop ballad for the masculine mental health crisis. Quincy Jones guitars chip away at the soft underbelly of synth, shaping and modelling until sleek lines are established and the entire track becomes effortlessly aerodynamic. The lyric explores male anxiety disorder from the point of view of friends looking to alleviate the psychological distress of a protagonist who outwardly rejects the value of the support but internally begs for it to continue as he can see the light at the end of the tunnel. It’s yet another example of Tungz multi-dimensional approach to song writing, asserting theirs as an essential voice in 2023. Album: Dripping with licks so richly sophisticated they ought to have their own Beverly Hills postcode, Tungz debut album ‘A Good Dream’ mixes the emotional downer of chillwave with the rhapsody of disco and hits perfection. Across 11 tracks, Tungz access a dancefloor utopia, where a French house aesthetic lives out an opulent psych-pop fantasy; beautifully simple yet sneakily complex. Brimming with confidence, the collection not only fulfils the promise of Tungz early EPs, but asserts their multidimensional approach to song writing, confirming them as an idiosyncratic prospect within alternative music.

The debut studio album of American hip hop group Grandmaster Flash and the Furious Five, originally released in October 1982 on Sugar Hill Records and featuring arguably the most influential hip-hop single of all time in “The Message”, together with “Scorpio” - one of the greatest electro recordings ever produced.

A gritty, plain-spoken and vividly cinematic portrait of black street life in New York circa ‘82 and a fascinating time capsule of rap's early attempts with the album format - this album earned respect on its own terms.

Out of print for many years, we are very pleased to make this iconic and revered hip-hop album available again for fans old and new to enjoy.

The Rolling Stones legen die ultimative Live Best Of Sammlung vor: ”GRRR Live!”
2012 und 2013 feierten die Rolling Stones ihr goldenes Jubiläum mit der ”50 & Counting”-Tour durch Nordamerika und Europa. Bei dem Konzert am 15.12.2012 im Prudential Centre, New Jersey, begleitete ein unglaubliches Line-up von Gästen die Band auf der Bühne – Lady Gaga, The Black Keys, Bruce Springsteen, Gary Clark Jr, John Mayer & Mick Taylor. Das Konzert erwies sich als eine der bemerkenswertesten Shows in der Geschichte der Band. Nun wurde das Konzert neu bearbeitet und neu abgemischt.

No Wahala Sounds are proud to present this latest compilation of rare recordings of the early 1980s from the vaults of Audio Productions Limited, Nairobi, Kenya.

The bands featured are from Kenya (Kangundo 'D' Boys, Kyanganga Boys Band, The Lulus Band and Gem Lucky Jazz); Tanzania (Founders International Band and Orch. Bima Lee) and the Democratic Republic of Congo (Orch Moja One).

These songs were originally released on 7" single on the APL imprints of Nyalando, Sound of Music, Boxer, Mlima and Julus, all overseen by producer Babu Shah.

The early 1980s were the golden age of benga and rumba, and these tracks are being released for the first time outside of Kenya.

Our previous releases have been featured on BBC 6Music and BBC3's Late Junction, as well as being reviewed in Songlines and Mojo.

Gotts Street Park are a proud bunch of throwbacks. The Leeds-based trio - Josh Crocker (bass, production), Tom Henry (keys) and Joe Harris (guitar) - met through various music studies and friendship networks. Individually their tastes are diverse: from North Indian classical to experimental jazz, soul to alternative hip hop but their vision is united: “The idea of doing things live in one room has always been important,” remarks Josh. “That’s how they used to do it. Our identity evolved from that.”

The inception of the collective goes back to around 2012. There have been minor line up tweaks - they currently record with a rotating list of drummers - but the philosophy has stayed the same: an ongoing pursuit to capture the raw, unparalleled vibe that comes from recording music together, usually as one take, sometimes to analogue tape.

That approach is a deliberate call back to the methods made famous by legendary studios like Sun and Stax in Memphis, or FAME and Muscle Shoals in Alabama and their in-house bands. That’s why for years, GSP set up their own studio in a shared house in a tough (but, crucially, affordable) corner of west Leeds, Armley. Gotts Park (historically the home of industrialist Benjamin Gott) was close by - the group’s name was a nod to their local geography but also the fact it sounded like an area plucked straight out of some of their favourite East Coast hip hop releases.

Their work was quickly noticed, and it was from that base where they began working with an eye catching list of collaborators: Rejjie Snow, Kali Uchis, Cosima, Yellow Days, Chester Watson, Greentea Peng and Benny Mails. Tom also played keys in Mabel’s band. Early on, while performing as a band for hire for those artists, they were simultaneously honing their own sound; a deliberately retro “heavy, saturated” atmosphere that married the languid vibe of traditional soul with the pin sharp clarity of contemporary hip hop. Old leanings, sure, but upcycled with their own modern twist. “We’re constantly trying to build a catalogue,” says Tom. “Writing new stuff and sending it out to people.” That’s why after the release of their debut EP, ‘Volume One’, in 2017 the invitations kept coming; most notably from Brits Rising Star award winner Celeste, with whom they recorded two tracks on her debut EP ‘Lately’.

‘Volume Two’ once again features an impressive raft of vocalists - all female - from established names to fresh talent. This time, musically, the overall tone is lighter; less gritty, more optimistic. “It’s definitely not as gloomy,” says Josh. “Still though, there is this kind of dark, mysterious thing that we do a lot that works,” he continues. “Like the song we’ve done with Grand Pax, for example - it’s got that kind of witchy darkness to it. I think if you do a really straight male soul voice, it can be a bit cheesy and sound like you’ve heard it a million times before.”

Their collaborations might be some of the freshest of 2020 but make no mistake: Gotts Street Park are out there looking to create something timeless.

Young Fathers - Alloysious Massaquoi, Kayus Bankole und G. Hastings - kündigen heute ihr langerwartetes neues Album, „Heavy Heavy“, an. Das vierte Album des Trios erscheint am 3. Februar 2023 via Ninja Tune und ist ihr erstes seit „Cocoa Sugar“ von 2018. Das 10-Track-Projekt signalisiert einen erneuten Back-to-Basics-Ansatz ohne externe Produzenten, nur ein winziges Heimstudio, ein paar Geräte und Mikrofone: alles immer eingesteckt, alles immer in Reichweite. Über das Album schreibt Alloysious: „Jede Platte muss besser sein als die letzte. Das ist die Mentalität. Wenn es nicht besser wäre, würde es nicht herauskommen.“ Für ihn geht es bei diesem Album nicht einmal wirklich um die zehn Songs auf der Tracklist. Es geht darum, was mit dem Trio in den langen, verrückten Jahren seit „Cocoa Sugar“ passiert ist. „Heavy Heavy“ ist der Beweis für das, was von dieser Zeit übrig geblieben ist. Der Erfolg des Überlebens, der Exzess der Existenz. „Ich mag den Titel ‚Heavy Heavy‘, denn es ist alles plus die Küchenspüle", fügt G. hinzu. „Maximalistisch. Keine Art von Schlankheitskur. Es fühlt sich voll an, gewichtig. Und es zweimal zu sagen, macht es spielerisch.“
Für Young Fathers gibt es keinen Dresscode. Tanzen, nicht moshen. Die Hüften zucken, die Füße rutschen, das Gehirn feuert in Catherine Wheel-Sparks aus Freude und Empathie. Unterirdisch, aber nie dunkel. Immer noch jung, nach einigen Jahren, auch wenn die heavy, heavy weight of the world von Tag zu Tag zu wachsen scheint.

Red Vinyl

Young Fathers - Alloysious Massaquoi, Kayus Bankole und G. Hastings - kündigen heute ihr langerwartetes neues Album, „Heavy Heavy“, an. Das vierte Album des Trios erscheint am 3. Februar 2023 via Ninja Tune und ist ihr erstes seit „Cocoa Sugar“ von 2018. Das 10-Track-Projekt signalisiert einen erneuten Back-to-Basics-Ansatz ohne externe Produzenten, nur ein winziges Heimstudio, ein paar Geräte und Mikrofone: alles immer eingesteckt, alles immer in Reichweite. Über das Album schreibt Alloysious: „Jede Platte muss besser sein als die letzte. Das ist die Mentalität. Wenn es nicht besser wäre, würde es nicht herauskommen.“ Für ihn geht es bei diesem Album nicht einmal wirklich um die zehn Songs auf der Tracklist. Es geht darum, was mit dem Trio in den langen, verrückten Jahren seit „Cocoa Sugar“ passiert ist. „Heavy Heavy“ ist der Beweis für das, was von dieser Zeit übrig geblieben ist. Der Erfolg des Überlebens, der Exzess der Existenz. „Ich mag den Titel ‚Heavy Heavy‘, denn es ist alles plus die Küchenspüle", fügt G. hinzu. „Maximalistisch. Keine Art von Schlankheitskur. Es fühlt sich voll an, gewichtig. Und es zweimal zu sagen, macht es spielerisch.“
Für Young Fathers gibt es keinen Dresscode. Tanzen, nicht moshen. Die Hüften zucken, die Füße rutschen, das Gehirn feuert in Catherine Wheel-Sparks aus Freude und Empathie. Unterirdisch, aber nie dunkel. Immer noch jung, nach einigen Jahren, auch wenn die heavy, heavy weight of the world von Tag zu Tag zu wachsen scheint.

Drawn from three sessions in 1958–59 that featured The Incredible Jimmy Smith in a quartet with tenor saxophonist Percy France, guitarist Kenny Burrell, and drummer Donald Bailey, Home Cookin’ stands as one of the most deeply soulful albums the Hammond B3 organ virtuoso ever made. The band gives a soul jazz symposium that covers tunes by Ma Rainey, Ray Charles, and Jimmy McGriff along with originals by Smith and Burrell. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Vinyl version of Regina Spektor’s eighth sudio album ‘Home, before and after’ which was released on CD and digital earlier this year and features the single ‘Up The Mountain’.

‘Home, before and after’ is Spektor at her most inspired and opens with the recently released ‘Becoming All Alone’, a surrealist ballad with a majestically swelling arrangement that comes alive. The album possesses her most palpable New York atmosphere in years, which is fitting as it was recorded in upstate New York, where it was produced by John Congleton and co-produced by Spektor.

The Russian-Jewish-American singer, songwriter and pianist first achieved commercial success with the RIAA Gold-certified breakthrough ‘Begin To Hope’, which included the singles ‘Fidelity’, ‘On The Radio’, ‘Better’ and ‘Samson’. Spektor’s fifth and sixth albums ‘Far’ (2009) and ‘What We Saw From The Cheap Seats’ (2012) both debuted at #3 on the Billboard album chart. She has performed at The White House as well as on Broadway and Saturday Night Live, and has contributed to many projects spanning film, television, and music including ‘The Hamilton Mixtape’.

Spektor’s previous album, 2016’s ‘Remember Us To Life’, received extensive critical praise from the likes of NPR, Entertainment Weekly, New York Magazine, People and many more. Her subsequent UK tour included a London show at the Eventim Apollo, which prompted The Guardian to state, “All hail a songwriter of substance… she’s a cult artist, but it’s a cult big enough to fill the Apollo.”

During the summer of 2019, Spektor completed a successful five-night Broadway residency at the Lunt-Fontanne Theatre. Next comes a run of solo shows, including a special night at Carnegie Hall, plus tour dates with Norah Jones.

Bosconi reaches number 50 milestone on it's main label catalogue and who better than label founders Mimimono could unfold this. Fabio Della Torre & Ennio Colaci come back on their output with this series of two eps forming a mini album named "Half Way Trough" with an intriguing blend of modern electro tech house tunes taking to the next level their concept of moving in between styles. The first ep starts with "Accelerate", an Uk infected tech house tune.. with a distinctly aggressive acid bassline in contrast to the clean synths and bleep sounds.. The result is a floor burner for your peaktime moments on da floor. "Overflow" is more of an hypnotic swing house tune, with some kind of arabic melodies , accompanied by subtle bassline reminding of prince of Persia sounding like environments.. B side starts with "Discorruption", a tribute from Minimono to the electro italo-disco sound , still with their own original approach, where all the arpeggios and synths notes are accompanied by a driving bassline and a funky house groove more typical by the Florentine duo. The record ends with the stylish melodic tech house tune "Getting Gold" where Fabio and Ennio show their ability of condensing melodic elements and synths into a dancefloor track.. for your sugared moments on the floor.
Definitively one to have in your bag

With so much going on in the world right now, it's safe to say we need to spread far more Joy then is circulating…

And who else deliver's Joy of this magnitude? The king of disco, Dr Packer. The Legendary Champion Records has enlisted the mirror ball man of the last decade to flip this absolute classic from Staxx and the gorgeous vocals of Carol Leeming. Perfect for sunsets AND sunrises, charge your cocktails!


DJ Feedback:

David Guetta - tasty update

Utah Saints - Minitsry Of Sound / FFRR - Cool groove. Production on point

DJ Kue - Dope!

MING - Nice one, I'll Play !!!

Steven 'Sugar' Harding - Milk & Sugar / M&S Recs - Love it!

DJ Rae - Good memories, nice work

Ember - Huge!

D.O.N.S. - Cool House tune. Support!

Black Legend - Defected / Simma Black - big one

Ruben Mandolini - Snatch! / Mother / Saved - Nice!

Sugarstarr - Defected / Toolroom / Vienna - Excellent

Tommie Sunshine - PACKER ALWAYS DELIVERS!!!

Vanilla Ace - Nice sounds

Kyle Kinch - Realm / Solotoko / Farris Wheel / HUGS - groovy

Severino - sweeet

MB Mgmt - top draw !

Jerk Boy - I've been eye'ing of this for a reboot for years ! I played this to death back in the day!..great remix !

Yolanda Be Cool - Sweat It Out / Club Sweat - cool...