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Inhaler is the third studio album by American rock band TAD, originally released on October 19, 1993. It was the band's major label debut after two albums and an EP released by Sub Pop, and it was also their first album with drummer Josh Sinder, formerly of The Accüsed. Producer J. Mascis (Dinosaur Jr.) gave TAD a more focused and driven sound on this record. He can be heard playing the piano on ""Luminol"". The song ""Grease Box"" was played during the end credits of the 1994 movie Brainscan. Inhaler is easily their best and most consistent album to date and obtained positive critical reception upon release. Fortunately, the group has lost none of the grit that marked them as the grungiest of the Seattle scene. In promotion of Inhaler, TAD toured with Soundgarden. Inhaler is available on black vinyl and includes an insert.

Inhaler is the third studio album by American rock band TAD, originally released on October 19, 1993. It was the band's major label debut after two albums and an EP released by Sub Pop, and it was also their first album with drummer Josh Sinder, formerly of The Accüsed. Producer J. Mascis (Dinosaur Jr.) gave TAD a more focused and driven sound on this record. He can be heard playing the piano on ""Luminol"". The song ""Grease Box"" was played during the end credits of the 1994 movie Brainscan. Inhaler is easily their best and most consistent album to date and obtained positive critical reception upon release. Fortunately, the group has lost none of the grit that marked them as the grungiest of the Seattle scene. In promotion of Inhaler, TAD toured with Soundgarden. Inhaler is available as a limited edition of 1000 individually numbered copies on magenta coloured vinyl and includes an insert.

Der Soul/Funk Tipp des Monats
Nach seinem hochgelobten Album - Soul Gift' folgt nun der großartige
Nachfolger - Soul Gumbo'!
Gumbo ist ein würziger Eintopf der kreolischen Küche. So wie die
Küche in New Orleans durch viele Einflüsse geprägt ist, ist auch die
Musik der Stadt am Mississippi ein bunter Mix. Der - Big Easy' gilt als
die Wiege des Jazz, dennoch ist die Stadt auch für seinen Rhythm &
Blues, Rock & Roll und nicht zuletzt auch für den New Orleans Funk
bekannt. In der - Crescent City' verschmelzen diese Stile wunderbar.
Raphael Wressnig kreiert mit seinen satten Grooves an der Hammond
B3 Orgel und mit - Soul Gumbo' ein ähnliches Amalgam. Da die
Musik nirgends auf der Welt so - funky' ist wie in New Orleans, hat
er im Januar 2014 dort in den Music Shed Studios sein neuestes
Album mit vielen - funky' Charakteren und Musik-Legenden der Stadt e
aufgenommen!

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

b A2 Ø phase - The Tower

Dancing Waters is a musical fusion where the Mediterranean soul meets the deep-rooted mysticism of Cental Asia. Inspired by the surprising resonance between the work melodies of Balearic Islands and Pitiüses Islands and the haunting beauty of Persian and Byzantine melodies. QANAT weaves together the rich traditions of the Mediterranean, Mesopotamia, and Persia. The project blends old Balearic work songs with the modal textures of Middle Eastern and Central Asian music -including influences from Iran, Turkey, Tajikistan, and the ancient region of Khorasan. At the heart of the project is the remarkable melodic kinship between Balearic field songs-once sung during rural labor-and the ancient echoes of Byzantine chant. QANAT bridges these traditions, crafting new musical landscapes through original compositions, instrumental dialogues, and vocal ornamentations that celebrate the shared soul of these distant-yet-connected cultures.

WRWTFWW Records is very happy to announce the release of Renga, the new collaborative album from Gak Sato and Tadahiko Yokogawa - available on limited edition LP (300 copies worldwide !) housed in a heavyweight sleeve with inside out print of a beautiful artwork by Aoi Huber Kono.
Renga (??, linked poem) is a genre of Japanese collaborative poetry in which alternating stanzas, or ku (?), of 5-7-5 and 7-7 morae (sound units or syllables per line) are linked in succession by multiple poets.
Inspired by the traditional Japanese poetic form of linked verses, Renga unfolds as a fluid 10-track journey spanning ambient, jazz, breakbeats, electronica, environmental music, techno, cinematic, library music, and musique concrète. Much like its literary namesake, the album is built on intuition and shared momentum, each piece emerging from what came before while opening new paths forward. Beats appear, disappear, then reassemble, while textures shift between organic warmth and electronic abstraction. The result is music that resists fixed categorization, existing somewhere between known subgenres and free-form exploration.
The album's visual counterpart, created by Aoi Huber Kono, mirrors the sensibility of the music. It's elegant, modern, and quietly expressive, extending the idea of linked forms from sound into image.
Points of interest
- For fans of ambient, experimental electronic music, jazz-inflected compositions, breakbeats, techno, cinematic soundtracks, library music, musique concrète, genre-blurring sonic exploration, linked verses, and dark blue.
- A unique collaboration between Gak Sato and Tadahiko Yokogawa, inspired by the Japanese poetic form of linked verses.
- Presented on limited edition LP housed in a heavyweight sleeve, edition of 300 copies.
- Artwork by acclaimed visual artist Aoi Huber Kono, extending the album's concept of interconnection across disciplines.

Originally formed in the early 1990s, Tadpoles earned a reputation as a neo-psychedelic rock band known for their impressionistic textures and adventurous sound.
After a 25-year hiatus, the band has reunited, now working across Sacramento, New York City, and Basel. They collaborate remotely to create new music that expands into unexpected genres, including jazz, ambient, country noir, and ambient shoegazer rock, all while maintaining their core psychedelic essence.
In this new chapter, the Tadpoles have teamed up with legendary producer and mixer Sonic Boom, known for his work with Spacemen 3, Panda Bear, MGMT and Beach House, to sculpt their evolving sound. His influence helps weave those new layers of psychedelia, ambient, and even jazz into the band’s signature adventurous spirit.”
This release reflects the band’s evolution and continues their legacy of blending noise, melody, introspection, and a bit of sly humor.

A compilation of tracks that rearrange Okinawan folk songs into Jazz Funk, crossover, and large ensemble jazz, featuring works by Kiyoshi Yamaya, who was also highlighted in "Diggers Dozen" (BBE) by the Japanese DJ MURO, known as the "King of Diggin," and "Wamono Groove: Shakuhachi & Koto Jazz Funk 1976" (180g). This collection debuts as the latest installment in the "Ryukyu Rare Groove" series, which was originally released in Japan in 2003 to great acclaim.

A compilation of rare and unique pop songs sung in Okinawa's unique musical scale with rock and soul grooves. It is based on “Ryukyu Rare Groove” released in 2003 and its sequel “Ryukyu Rare Groove 2” in 2006. This is a renewed version of those two albums, with more carefully selected and new songs included.

The Yara Families, the symbol of this series, as well as songs by Shokichi Kina, the originator of Okinawan folk rock, Mitsuko Sawamura, who made a breakthrough from Okinawa into American musical films, and Teiko Saito (Teiko Taira), a jazz singer who released her debut album in 2022 at the age of 86 and became a topic of conversation, The album contains 14 precious tropical groove songs. A renewed version of “Ryukyu Rare Groove” is now available in analog format!

The compilation “Ryukyu Rare Groove” became a hot topic as many people became addicted to its unique groove, which was created by applying Western arrangements to Okinawan scales and traditional Okinawan music. Ryukyu Rare Groove Revisited” is now available in analog format.
It features 14 precious tropical grooves, including not only the iconic Yara Families from this series, but also songs by Shokichi Kina, the originator of island song rock, and Teiko Saito (Teiko Taira), a jazz singer who released her debut album in 2022 at the age of 86 and became a hot topic.
Ryukyu Rare Groove Crossover,” a selection of jazz arrangements of Okinawan melodies and folk songs, was also released simultaneously, featuring MURO selection
‘Diggers Dozen’ and Kiyoshi Yamaya's Okinawan folk song Jazz Funk, which was featured on the ‘Ryukyu’ 7-inch from Tropic Night Records. and other instrumentals,

including Latin big band jazz by Naoteru Misuna and the Tokyo Cuban Boys.

An 11-minute Gnostic rite from the outer fringe of the demiurge's data farm. Manuel Gottsching meets Megadog. A tranced-out deep cut of driving apocrypha assembled by mystic duo SB&C with B-side emanation and mutations from Ann Arbor's JTC aka Tadd Mullinix--for the initiated and confused. A limited 100 edition, hand screen printed release with no repress and no streaming. Download code included with physical record only.

NEW LP PRESSING on Opaque Yellow Wax

Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Huge tip!

Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India.

The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO).

Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan.

2025 Repress

Midnight In Tokyo 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s , compiled by Dubby, the man behind the online record store Ondas.

The compilation begins with "Hikobae," a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi," an odd Caribbean-style jam by Today's Latin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat, and fusion boogie cut "In The Hot City" is by Mr. Theodore, which was a one-off project by a mysterious artist.

The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono, a member of the prog rock band Yoninbayashi.

"Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japa-nese fusion giants like Akira Inoue, Tatsuo Hayashi and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama.

The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13 track compilation is "Day Dream At The Bob's Beach," a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians

Limited Edition White Vinyl

At the forefront of a rising wave of Brazilian artists captivating international audiences, Nyron Higor brings a quiet yet potent sense of wonder to his new self-titled album. Born in Maceió, Higor’s latest work is rooted in the traditions of Northeastern Brazilian music and golden-era MPB. Within the peaceful surroundings of his home, Higor weaves these roots together with global influences and contemporary production techniques, for a uniquely dreamlike vision of hope.

Following the success of his self-released debut Fio de Lâmina—an instrumental record of delicately balanced rhythmic and harmonic patterns, which earned support from tastemakers like Mr. Scruff, Gilles Peterson, and John Gomez—Higor’s new album is a move towards a more expansive, lyrical exploration of transcendence and triumph. As Higor explains, “This album is a test of resistance and a big event in my life as a young Black man from the Northeast and coming from a humble background, financially speaking, its context is political.”

Taking his demos and unfinished tracks to São Paulo, Higor worked alongside friends and collaborators from Brazil’s vibrant contemporary music scene—including fellow Maceioense artists Bruno Berle, Batata Boy, and New York-based Brazilian vocalist Alici Sol—assembling a rich musical landscape and a cutting edge development on the musical world from which he emerges.

For Higor, the process of recording and producing in close collaboration with Berle and Batata Boy allowed him to fully cultivate the emotive power of his compositions. Album opener "Ciranda" sets the tone with a slow frevo rhythm, as wistful trombone melodies and melancholic acoustic guitar harmonies create an atmosphere both intimate and grand. Lead single "São Só Palavras," featuring Alici Sol and Bruno Berle, captures both the lightness and depth of young love in an all too fleeting minute-and-a-half moment of soaring brilliance.

Building upon the instrumental sound of his debut, “Louro Cantador” with its playful organ, birdlike whistles and elegant acoustic guitar, emanates a kind of rare natural beauty, as each sound dances amidst the gentle pulse of Higor's bass—his main instrument.

Through ten carefully crafted tracks, Higor’s acuity for sound and silence draws listeners into a place that feels both deeply personal and universally resonant. “Above all, I value making music that brings me genuine satisfaction. I’m always looking for depth in the things I create.”

This album is a testament to the timeless themes that define Higor’s artistry, as well as his creative drive to overcome the obstacles he faces. Conveying his feelings of jubilance for his work, Higor notes, “This work is liberating, contemplative and victorious!” Each track invites the listener to experience the raw intimacy, the joy and longing, and the otherworldly ingenuity of Brazilian music, which seems to endlessly keep us coming back for more.

CREDITS

Ciranda (Nyron Higor)
Tico Lima: Trombone, Nyron Higor: Drums, Bass, Synthesizers, Electric Piano, Guitar, Molho de Jatobá, Ganzá, Caxixi, and Indigenous Whistle

Louro Cantador (Nyron Higor)
Nyron Higor: Drums, Bass, Keyboards, Guitar, Percussion, and Direct Sound

Demo Love (Nyron Higor)
Nyron Higor: Drums, Bass Synth, Keyboards, and Synthesizers

São Só Palavras feat. Alici, Bruno Berle (Nyron Higor, Batata Boy, Alici Sol, and Bruno Berle)
Alici Sol: Vocals, Bruno Berle: Vocals and Bass, Nyron Higor: Drums, Guitar, Keyboards, Synthesizers, and Whistles

Estou Pensando Em Você feat. Johanna (João Menezes, Rubens Adati)
Nyron Higor: Vocals, Johanna: Vocals. Bruno Berle: Vocals, Rubens Adati: Piano, Guitar, Programming, Stefan Costilhes: Bass, Batata Boy: Programming

Maravilhamento feat. Nathalia Grilo (Nyron Higor, Nathalia Grilo)
Nathalia Grilo: Vocals, Nyron Higor: Drums, Bass, Guitar, Keyboards, and Synthesizers

Som 24 (Nyron Higor)
Nyron Higor: Sampler, Keyboard, Bass Synth, Vocoder, and Steel Guitar

Pizzicato (Nyron Higor)
Nyron Higor: Double Bass and Keyboards

Eu Te Amo (João Menezes)
Nyron Higor: Vocals and Bass, João Menezes: Guitar, Batata Boy: Rhodes Piano, Bruno Berle: Xylophone

Me Vestir De Você feat. Johanna (Paulo Novaes and João Menezes)
Nyron Higor: Vocals, Johanna: Vocals, Bianca Godoi: Drums, Bruno Berle: Bass, Guitar, Percussion, and Rhodes Piano, Batata Boy: Rhodes Piano and Guitar

===================

Tracks 1, 2, 3, 4, 6, 7, and 8 were recorded by Nyron Higor in Maceió

Track 4: Bass and Synthesizers recorded by Ico dos Anjos. Vocals recorded by Batata Boy at Estúdio Rural

Track 5: Guitars, Bass, Programming, and Pianos recorded at Inhame Estúdio. Coproduced by Rubens Adati

Tracks 9 and 10 Recorded and Co produced by Ico dos Anjos

Mixed by Batata Boy, Ico dos Anjos, Bruno Berle, and Nyron Higor

Mastered by Batata Boy

Produced by Batata Boy, Bruno Berle, and Nyron Higor

Lacquer Cut by Caspar Sutton Jones @ Gearbox Records

Cover photo by Claudio Virginio

Vinyl centre label artwork by Tadáskía

Sleeve design by Alessandro Renaldin

Fom the Sleevenotes by Paul Murphy: Jazz Room Records:

"I took a trip to the If Music Store, 2nd Floor, above the paint shop and that got me hooked on the sound of COPA SALVO.

"You NEED this!" said Jean-Claude. "They're an amazing and unique Jazzy Combo from Japan!" But at the time I was stuck in some dead end Gulag job getting things together for the launch of a record label idea I'd been working on and the bobs were just not in abundance. Especially in the part of the wallet marked "Japanese Vinyl Import Department". But he gave it a spin and I was pretty much hooked from that day on.

Things soon looked up though and the next sighting of COPA SALVO was on the BBE Records release: A Journey Into Deep Jazz Vol. 3 (Compiled by that very same Jean-Claude!) which featured COPA SALVO - Hasta La Victria Siempre, a pounding piano driven homage to Fidel which incidentally is one of the featured numbers of the album that is soon to be released on Jazz Room Records.

I kept looking for more COPA SALVO as I was really intrigued by the sound they produced and, over a period of time I managed to obtain nearly all of their sparse catalogue. Once Jazz Room Records had started to get established and the release of the Colin Curtis Presents: indigo jam unit compilation had been a success I thought "Time for COPA SALVO to make their Jazz Room debut!"

This Jazz Room Records Compilation will feature their unique and highly original compositions which are an energetic meltdown of Funk, J-Jazz, Afro-Cuban, Boogaloo and range from the Heavy Latin Jazz Vibes of Bolivia 67 to the Kung Fu '70's sound of Tong King Rock with a journey that takes in an Eastern Folktale and a Jump Up Life along the way."

Vocal/Guiro : Tadahiro Masuda

Piano : Eri Konishi

Bass : Hironori Kobayashi

Percussion : Yo Sato

Percussion : Pyon Nakajima

Timbales/Drum : Peach Iwasaki

This riotous, psychedelic Latin funk anthem, taken from Martín Buscaglia's 2006 classic album "El evangelio según mi jardinero", sees its very much requested first time on a 7". To celebrate this, and thinking about the AA side, we decided to ask Bosq for a remix.

When we approached him, he said "This track is wild, I love it!" and he started to make his thing. When he finished it, he told us, "I resisted the temptation to bump it up closer to 120 bpm – the world needs more midtempo dancefloor treats!". We couldn't agree more on the midtempo bit, but especially we couldn't be more chuffed with the remix. Bosq has added his magic and a tad of cumbia feel as well and the result is way more than a treat, it's an everyone-smiling-on-the-dancefloor kind of track.

repressed !

● Essential 14 track collection of "WaJazz" music selected and compiled by renowned Japanese jazz expert Yusuke Ogawa, owner of the Universounds record store in Tokyo.

● Gatefold 180g heavy double vinyl LP. Comes with extensive track-by-track liner notes by Yusuke Ogawa.

● All tracks licensed by Nippon Columbia, Tokyo, Japan.

● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

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Universounds, HMV Record Shop and 180g team up for an exceptional release: from blazing hard bop to free jazz, to introspective saxophone solos and massive big band sounds, renowned Japanese jazz expert Yusuke Ogawa presents an essential 14 track collection of "WaJazz" music taken from the Nippon Columbia vaults. Featuring Jiro Inagaki, Minoru Muraoka, Hiroshi Suzuki, Hozan Yamamoto, Count Buffalo, Takeshi Inomata, and much more!

"Japanese jazz has been recognized and celebrated by music lovers worldwide for decades. The origins of this trend may be traced back to the rare groove movement that flourished in the 1990s, but its current deep and wide popularity seems to be connected to the fact that Japanese people have been reevaluating their own jazz since the mid-2000s, locally referred to as WaJazz ("Wa" meaning Japan but also theShōwa emperor period, from 1926 to 1989). Since the beginning of the 2000s, there has been a growing trend to move away from the DJ-focused perspective and to appreciate jazz with a deeper understanding. Nowadays, there is more and more interest in the background and roots in which jazz has developed in Japan, with Japanese jazz as a whole now considered as its own distinctive genre.

Of course, even if we speak about "WaJazz" as one genre, there is a truly wide variety of styles within it. However, when Japanese musicians play, there is something uniquely Japanese flowing through that creates a kind of synergy. It may be the melody, the rhythm, or even something deeper, like an inexpressible flicker. I would be happy if some of its charms and secrets emerge from the fourteen tracks included in this collection." (Yusuke Ogawa)

Yusuke Ogawa has been running the Universounds store in Tokyo since 2001, specializing in jazz and second-hand, rare, and collector records. He is also a reissue supervisor, label manager, DJ, and music writer. Known for his vast musical knowledge, eye for detail, and archival skills, Ogawa has worked on more than 250 reissues and compilations – including the highly praised Deep Jazz Reality and Project Re:Vinyl series. He is the co-author of the Wa-Jazz Disc Guide and the Independent Black Jazz of America books.

Returning to Iceland to focus on fresh material, Kiasmos will release new EP 'Blurred' through Erased Tapes on October 6th.
Janus Rasmussen explains: "To write new material felt like a new beginning for us after two years of touring. The plan was to write something a tad darker than our previous stuff. Spring in Reykjavík had other plans though, as this turned out to be our brightest release to date." Remixes on the EP come from Bonobo and Stimming, each taking Kiasmos' music in fresh directions

Patrick Weblin gives us this very special EP. 2 Original tracks named after his 2 sons, so a lot of time and heart has gone into making this Ep with a superb remix from IULY.B. "Tadhg's Groove" give us solid house drums,percs and hats but its the pads and bassline that gives it the movement throughout the track, taking you to another level of space and conscious. IULY.B's remix is down right tasty. It takes you on a little trip and makes you loose track of time all while grooving to this great remix. "Ollie's groove is something a bit special, big 909 kick combined with 808 tops but this time some melodic synths add a very soulful and elegant sound.

Nur wenige Tage, bevor der Altsaxofonist Cannonball Adderley mit Miles Davis, Art Blakey und anderen
Größen sein emblematisches und einziges Blue-Note-Album “Somethin’ Else” einspielte, ging er noch ein
letztes Mal mit seinem regulären Quintett ins Studio, um für das Label EmArcy “Cannonball’s Sharpshooters” aufzunehmen. Das Ensemble präsentierte zum Abschied ein kompaktes Programm mit Klassikern von
u. a. Tadd Dameron und Thelonious Monk sowie einer Eigenkomposition des Bandleaders.

Nach dem "makellosen und zeitlosen Soul" (The Guardian) des 2019er-Vorgängers "American Love Call" öffnet "Private Space" von Durand Jones & The Indications die Tür zu einer breiteren Palette von Klängen und führt die Band kühn in eine synthielastigere Soul-Welt aus mit Streichern durchsetzten Disco-Beats. Das harmonische Zusammenspiel zwischen Aaron Frazers sanftem Falsett am Schlagzeug und Durand Jones' kräftigem Gesang sitzt noch immer tadellos und wird von Blake Rhein (Gitarre), Steve Okonski (Tasten) und Mike Montgomery (Bass) perfekt abgerundet. The Indications bleiben auch auf ihrem dritten Album wahre Meister darin, Revival-Sounds mit einer modernen Haltung zu verschmelzen. "Private Space" atmet den Geist der vergangenen Disco-Ära und die zehn Tracks liefern so eine dringend benötigte Dosis Eskapismus nach diesem turbulenten Jahr 2020. Das Album entstand nachdem die Band einen Großteil des Jahres getrennt voneinander verbracht hatte. Die Freude des Wiedersehens und am kreativen Miteinander ist auf "Private Space" jederzeit spürbar. Der hoffnungsvolle Sound setzt auf die Idee, dass Freude uns befreien kann. Die Kraft eines guten Songs, ein Licht in der Dunkelheit zu sein. Bandleader DURAND JONES fasst es treffend zusammen: "At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me."

In 1955 Miles Davis played an all-star jam session at the Newport Jazz Festival with Thelonious Monk on piano, Gerry Mulligan on baritone sax and Zoot Sims on tenor sax. This performance immediately drew the attention of Columbia Records' George Avakian, who was so impressed that he immediately offered Davis a contract if he could form a regular band. The group he then assembled would go down in history as Davis' so-called "First Great Quintet", consisting of John Coltrane on tenor sax, Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and of course Miles himself on trumpet. 'Round Midnight is Miles Davis' first record for Columbia and also the first studio recording of the First Great Quintet. The recording sessions began on October 26 1955 but the album wasn't released until 1957 as Davis was still under contract at Prestige at the time. These respective sessions yielded Steamin', Workin', Cookin' and Relaxin'; albums that would go down in history as quintessential blueprints of late 1950s hard bop.

The record is made up of a collection of standards and one traditional song ("Dear Old Stockholm", from the 19th century). Notably, it features what may be considered the most well-known versions of Thelonious Monk's "'Round Midnight" and "Bye Bye Blackbird". That Avakian made a golden signing was sufficiently clear from the start, but no one could foresee that it would be this quintet on Columbia that would go on to change the course of modern jazz forever with Kind of Blue. 'Round Midnight is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl.

Somewhere between the sophisticated songwriting of Leonard Cohen and Jacques Brel, the rugged folk of Bob Dylan and Neil Young, the acoustic pop of Simon & Garfunkel, and the haunting melancholy of Nick Drake and Elliott Smith, there is Philippe B, who reminds us of the depth that can be conveyed with nothing more than a guitar and a few words.

Don Leisure has cemented his name as one of the most forward-thinking and experimental beatmakers & producers within the current musical ecosystem. As well as being 50% of Darkhouse Family (alongside Earl Jeffers) he has collaborated with the likes of Angel Bat Dawid, Gruff Rhys, DJ Spinna and First Word label-mates Amanda Whiting & Tyler Daley (Children of Zeus). Garnering serious support from Lauren Laverne, Tom Ravenscroft, Huw Stephens, Gilles Peterson, Huey Morgan, The Vinyl Factory, Clash, Uncut and many more. Following the release of ‘Cynnau Tân (feat. Carywyn Ellis)’ (which gained support across BBC Radio from Tom Ravenscroft, Zakia & Huw Stephens) Welsh beatmaker Don Leisure announces the release of a new album ‘Tyrchu Sain’) as he returns with a new single ‘Tyrchu’ due for release on 22nd January 2025. ‘Tyrchu’ features the soft-spoken vocal stylings of Gruff Rhys over a gently rolling, tape saturated and expertly chopped instrumental, creating (in Gruff’s own words) ‘Shiny new beat-treasures with ghostly reflections of Welsh pop’s past - skillfully dug from Sain Records’ deepest veins’

A dedicated student of music, over the years, Don has amassed a vast encyclopaedic knowledge of music genres and subcultures, including a fascination with Welsh psychedelic folk music from the mid-20th century. This introduction was made by respected musician, producer & selector Andy Votel’s 2005 two-part compilation series ‘Welsh Rare Beat’ (in collaboration with Gruff Rhys and Don Thomas), comprising twenty-five tracks from Sain Records’ back catalogue. Now the oldest independent record label in Wales, Sain is a wildly influential bastion of home-grown Welsh talent, co-founded by Welsh-language folk singer Dafydd Iwan, whose music has seen a cultural resurgence in recent years with his 1983 song Yma o Hyd (We’re Still Here) becoming a huge anthem for Wales football fans. Set up in the Welsh capital, many of Sain’s early releases were recorded at Rockfield Studios in Monmouthshire, but in the early 1970s the record company moved to the Caernarfon area and opened their first recording studio in 1974 near Llandwrog. Announcing a huge digitisation project throughout 2024, Sain Records took on the mammoth task of painstakingly digitising their entire back catalogue spanning 55 years, working in partnership with the National Library of Wales the resulting archive then be submitted for to the National Library of Wales in Aberystwyth, preserving them for future generations to enjoy. Taking this period of rediscovery as an opportunity to reimagine their impressive inventory, Sain invited Don Leisure to dig into their musical treasure chest, creating a sprawling sonic tapestry from the dusty gems within. On this exhilarating excursion, Sain Records founder Dafydd Iwan explains: ‘Imagine someone gave you access to over 50 years of Welsh popular music – almost all of it unknown to you before. It would be a strange experience of discovery, an unknown territory which could baffle and excite. This happened to Jamal (Don Leisure) – and he was captivated by a world of music he barely knew existed, and when he was asked to distill the experience into one album, he immediately warmed to the idea. And this is the result – a kaleidoscope of sounds to encapsulate a half century of Welsh music. To call it unique would be superfluous: no-one could ever recreate this album. Listen, and enjoy.’.

The resulting product is ‘Tyrchu Sain' (translating to ‘Digging Sain’), a fearless and exploratory album, which sees Don put his signature unparalleled and unpredictable skills to work, weaving together moments of forgotten beauty into celestial and otherworldly compositions. The record features appearances by artists from Wales who have a similar obsession as Don Leisure in these classic Welsh rarities including Gruff Rhys, Carwyn Ellis, Earl Jeffers Amanda Whiting and Boy Azooga. A shimmering patchwork quilt of sound, ‘Tychru Sain’ traverses a shifting landscape of acid folk, eerie vocal melodies and interstellar soundscapes, propelled forth by crisp, head nod-inducing drums and grainy textures. Breathing new life into compositions lost to time, and paving a path for new listeners to discover the magic that lies within.

This release resurrects a long-lost cornerstone of Seattle's early grunge history, showcasing Bundle of Hiss, featuring future Mudhoney and TAD guys and singer Jamie lane, one of the genre's missing links. Between 1986 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers and singers, Jack Endino went in to record one of the most solid - and most unfairly invisible - outfits of that scene: BUNDLE OF HISS. Two sessions (1986 at Reciprocal and 1987/88 at Audio Design) fell into limbo, stored in the basement of Mudhoney-Drummer Dan Peters and for years they were a kind of pre-grunge legend, everyone knew they existed, but there was no record, until Loveless Records from NYC released both on CD. The second one, Audio Design Sessions, now sees the light of vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness we'd later hear in Mudhoney, TAD or early Soundgarden. And Jack Endino himself summed up these sessions: "Vintage Seattle grunge from one of the original practitioners_ I always felt sad that this hard-working band never managed to get a record out and was almost lost to history. It was a pleasure -and a technical pain!- to resurrect all this." Kinda key release of the early grunge days, first-generation material, recorded by the scene's producer, at the exact moment Seattle was shifting from noisy punk to that heavy, shadowy rock that later blew up. It sounds raw, young and dangerous: this is not a polished compilation, it's a snapshot of the scene.

"Eau" is the lovely new album from aus, the solo project of Tokyo-born composer and producer Yasuhiko Fukuzono, who has gained attention, in Japan and overseas, for his thoughtfully paced and sensitively skillful music as well as his intriguing sound design for exhibitions and experimental cinema. Having worked primarily with keyboards and electronic sound up to this point, "Eau" is a slight yet fascinating shift for aus; the album, while still primarily an electronic work, revolves around the sonic world of a stringed acoustic sound source, the koto, that most characteristically Japanese of musical instruments. The very accomplished Eden Okuno provides the delicate-yet-rich koto sounds on offer here; Fukuzono, in the liner notes, acknowledges the importance of Okuno's artistry to the project.

The compositions on the album are designed to balance the sound of the koto, with its subtly variable attack and flickering resonance, with the timbre of other instruments. The delicate decay and metrical flexibility of the koto is enveloped by sustained synthesizer sounds and contrapuntally constructed piano melodies, creating a flowing ambience with absorbing undercurrents, a languid and liquid quality that reveals the suitability of the title.

Avid fans of contemporary Japanese music might hear the influence of pioneering works such as the the 1979 Hiroshi Yoshimura composition "Clouds for Alma", realized by koto player Tadao Sawai, and the 1993 album "Koto Vortex I: Works by Hiroshi Yoshimura" which featured performances of Yoshimura's works by the Japanese koto quartet Koto Vortex. These works attempted to remove the koto from its traditional context and place it within the context of ambient and techno. "Eau" is available on CD/LP/cassette/digital, with E/J liner notes by aus. "Eau" is the first collaborative release by EM Records and FLAU, the label run by Yasuhiko Fukuzono (aus).

'Yamame' (the Japanese name for a kind of freshwater salmon) was recorded in 1962 and was Miyazawa’s first album, but the sharpness and avant-garde modernity of the music creates a completely timeless quality. Miyazawa is one of a group of musicians who laid the foundation of the Japanese jazz scene. He wanted to express his cultural heritage by doing something he felt “only someone Japanese” could do, and so he dedicated himself to a pursuit of “Japanese jazz”. Incidentally, the album was originally simply titled “Akira Miyazawa”, but perhaps due to the impression the cover art and the track titles made, it was reissued in 1977 as “Yamame”, and has gone by that title ever since. This is an historic masterpiece of Japanese jazz.

Tenor Saxophone – Akira Miyazawa
Alto Saxophone, Flute – Sadao Watanabe (tracks: B1 to B3)
Baritone Saxophone, Clarinet – Tadayuki Harada (tracks: B1 to B3)
Trombone – Mitsuhiko Matsumoto (tracks: B1 to B3), Yasuhiro Tomoto (tracks: B1 to B3)
Trumpet – Akira Nakano (tracks: B1 to B3)
Piano – Masahiko Sato
Bass – Masanaga Harada
Bass Trombone – Takeshi Aoki (tracks: B1 to B3)
Drums – Kanji Harada, Takeshi Inomata
Supervised By – Jiro Kubota

What is the source, and why does it matter? Marking three years since his debut LP, area127 honcho Tadan steps forward with his second solo record. Built on a trance language of his own, it dives into tripped-out sonic terrains where introspection meets organic force.

The journey begins with ‘Pure Idea’, as waterborne harmonies ripple like the first morning rays through glowing tones. ‘Level 27’ ascends into a haze of suspended energy, flickering and pulsing to bridge rhythm and reflection. With ‘Muses’, the record transcends into hypnotic rite – nocturnal breaks and avant-garde melodies conjure a dialogue between psyche and body. ‘Evolution’ wraps it up in future-driven, past-echoing psychedelia, lucidly carrying the answers you might be looking for.

An unrelenting storm of Minyo, Latin, and Jazz—fierce, thrilling, and utterly original. A groundbreaking work of classical artistry, created by two
masters: Naotero Misuna and Norio Maeda.

Naotero Misuna, known as “Maestro Misuna,” led the Tokyo Cuban Boys, a legendary big band formed in 1949—before Latin music had even taken
root in Japan. With over 300 recordings to their name, they are one of Japan’s most iconic ensembles. Throughout their long career, the band remained
rooted in Latin music while boldly incorporating other genres and contemporary styles. Among their most internationally acclaimed works are those that
focus on traditional Japanese music, such as folk songs and ancient melodies.

This album, Japanese Classical Arts, arranged by the great Norio Maeda, is a masterpiece that transforms Minyo + Latin + Jazz into a thrilling sonic
experience. Leading the charge is a powerful rendition of “Sakura Sakura,” which moves seamlessly between Afro-Cuban jazz and jazz-rock, captivating l
isteners around the world. The album also features meticulously crafted arrangements of “Kariboshikiri Uta,” “Yagibushi,” “Genroku Hanami Odori,” and
“Awa Odori.” The inclusion of Kohachiro Miyata on shakuhachi and Tadao Sawai on koto is nothing short of brilliant.

This is exhilarating Wa-Jazz at its finest—music that makes you want to shout, “This is it!

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

"Melbourne's unofficial Techno Poet Laureate" The Guardian. Like a rural Australian mix of Sleaford Mods and EDM. Diagnosed as an epileptic at 33 Our Carlson has since channeled his anger, confusion and anxiety into music. Through his methods may seem a tad unsound this is serious stuff, albeit served up with a backing track of party vibes, orchestrated by DJ Cash Daddy (CASH SAVAGE).

Senselessness 1/2 is the very first solo issue of the Swiss electronic composer Robin Félix, on his own label De l’Aube (Of Dawn), the occasion for him to prove that field recordings can be (or should be?) an integral part of the global matter, when so often they are just something hovering in the background because it’s “nice” or reminds the artist of a place he loves.

Throughout the length of these four tracks, they are litterally central; moreover, they are electronically transformed, manipulated, skewed and twisted in order to form some sort of framework, a backbone on to which sounds and genres intertwine. On Cluster, violins and cellos (recorded in the gardens of the Venice Biennale) are soon transmuted into the abrasions of the electroacoustic realm, until the pulse of a relentless bass introduces a pure and pristine electronic music that knows and uses the roots of dub, drum’n’bass and the meticulousness of Jan Jelinek’s Glitch aesthetics. A tad “housy”, Chi comes as a second pulse where a modified didgeridoo and African percussions (recorded in a Swiss forest) lead the listener to a sort of tribal mode, as suited to dancers than to those who prefer inner journeys; here, the spatial dub of King Tubby moves from background to foreground.

The more abstract Boiler verges on the IDM and the heady, elegant and spartan Detroit techno – headphones reveal its numerous minute and delicate details. Based on the recording of insects, of which one can hear the actual rubbing of elytras, the closing Swarm ends the record with and intricate blend of ambient, which in some way winks to the Aphex Twin and The Future Sound Of London. Overall Senselessness 1/2 is a mesmerising and concise update of the famous Deutsche elektronische musik of old, that gathered on its way the other genres that made Robin Félix tick. Since field recordings have hardly been that meaningful, one wonders where Senselessness 2/2 will lead us to

[d] A4 Becky Doll; Recorded By [Vocals] – Wesley Graham (2); Vocals – Coco Hames

b A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo


[b] A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo

Nace Surcos Sounds: un sello techno con alma social
Surcos Sounds es un nuevo sello discográfico independiente enfocado en raw e hypnotic techno, fundado por el productor y DJ VanLL. Con una clara vocación artística y social, el sello debuta con un primer recopilatorio en vinilo y digital que reúne a artistas veteranos y emergentes en un manifiesto sonoro contundente.

Los artistas:
• Adri G: Raw techno mental con carácter progresivo.
• Drucal: Emergente del circuito techno profundo.
• Azogiar: Oscuro, denso, hipnótico.
• Unkle Fon: Figura clave en la escena techno experimental española.
• Tadeo: Maestro del minimalismo techno, con décadas de trayectoria.
• VanLL: Fundador de Surcos Sounds, con una visión activista y creativa del techno.

Compromiso Social:
Surcos Sounds es un proyecto sin ánimo de lucro.
Todos los ingresos digitales serán donados íntegramente a ONG.
La edición en vinilo está limitada a 200 copias numeradas, ideales para coleccionistas yamantes del sonido analógico.

On his second EP for Altered Circuits, "Signal Drift", Jacopo Latini further distills his sound. Taking a more minimalist approach, he unreservedly treats the groove as the focal point. Still relying on his staple talent for weaving melodies and hooks, he delivers four trippy club tracks that show more can be done with less. Opener "Sharp" delivers immediate proof. After starting with a sequence of eerie sci-fi atmospherics and recondite vocoded vocals, the adding and subtracting happens so ingeniously, the track switches to club velocity 303 squelches and enhanced drum programming seamlessly. Similar techniques in building and layering are deployed on "Impulse", but this time, the shifts seem a tad more dramatic. The track revolves around an FM bass melody that's equally effective as it is simple, and its return to this stripped theme, surrounded by characteristic jittery hats, squashed claps, and a little more frills, keeps the listener on his toes. A bass patch, its sustain knob turned wide open, somewhat buried in the mix, drives "Bright Sound" together with a heavily modulated formant mid lead. Deadpan vocals add icing, and slightly euphoric, phased chords bring in a touch of subtle contrast. Closer "Rave Harvey" is a rare diversion as it starts in medias res with chords that reconfigure nineties trance and a distinct bassline immediately going for the limelight. It also shows Latini switching up his palette, trading restraint for vigor, with a slab of direct, unfiltered hi-energy as a result.

Norman Blake, Bernard Butler und James Grant sind drei der bekanntesten und angesehensten Musiker ihrer Generation. Norman ist die treibende Kraft von Teenage Fanclub, Bernard ist bekannt für seine Soloarbeit und Produktionen mit Suede und James für seine Soloarbeit und Love And Money. Nach einigen sehr gut aufgenommenen Shows, bei denen das Trio eine Auswahl der Songs der anderen spielte, kam das Kollektiv wieder zusammen, um neues Material zu schreiben. Die daraus resultierende Platte ist ein wahres Vergnügen; jeder der Jungs singt abwechselnd mit sympathischem Input seiner Mitspieler. Butler, Blake & Grant strotzen vor natürlicher Kameradschaft und wunderschön gestalteten Songs voller Melodie, Harmonie und tadellosem Gitarrenspiel.

Key Glock ist zurück mit Glockaveli, einem Statement-Album, das seinen Status als eine der unaufhaltsamsten Kräfte des Hip-Hop untermauert und seinen Aufstieg vom Star aus Memphis zu einem bekannten Namen festigt. Mit mehr als 8 Milliarden Streams und mehreren Platin-Schallplatten hat er ein Imperium zu seinen eigenen Bedingungen aufgebaut - keine Features, keine Abkürzungen, nur Talent, Vertrauen und Authentizität. Ob Key Glocks raue Lyrik oder die tadellose Produktion - Glockaveli ist ein Zeugnis für Widerstandsfähigkeit und Neuerfindung, während man sich selbst treu bleibt.

In addition to being members of Miles Davis' band, John Coltrane, Red Garland and Paul Chambers recorded several projects together without the trumpeter. Soultrane is a superb quartet album featuring the three musicians along with drummer Art Taylor (he and Chambers were both members of the Red Garland Trio). The LP was recorded in between the two Miles Davis Sextet sessions that produced the album Milestones. Among the highlights are a lengthy reading of Tadd Dameron's "Good Bait", and Trane's earliest and probably best version ever of Billy Eckstine's ballad "I Want to Talk About You", which would become a favorite inthe saxophonist's live repertoire.

180-gram VIRGIN VINYL LIMITED EDITION. The Complete Album | Bonus Track

Vinyl release of saxophonist Gary Smulyan's 2022 album 'Tadd's All, Folks'
This album is all about Tadd Dameron (1917 - 65), one of the most important
American jazz composer/musicians. The master baritone saxophonist and perennial
pole winner Gary Smulyan conceived the brilliant idea of recording Dameron
compositions with lyrics. The vocal part is phenomenally rendered by the young talent
Anais Reno. Three songs including the lovely This Night Of Stars have hitherto never
been recorded.
"While Smulyan solos brilliantly throughout, Reno is the real treat here." - Bill
Milkowski, DownBeat
"Smulyan here brings to light Dameron's heretofore unknown Library of Congress trove
of standard- quality off- Broadway gems." - Fred Bouchard, The New York City Jazz
Record

The complete LP + 2 bonus tracks - limited edition pressing on 180g vinyl

Miles Davis' quintet formed in 1955 is widely regarded as one of the greatest combos in jazz history. Miles was recording for the independent jazz label Prestige at the time, but after the quintet's success at the 1955 Newport Jazz Festival, Miles received a substantial offer from the recording giant Columbia. 'Round About Midnight was his first album for Columbia.

"First, let me say that you should buy this LP immediately. Perhaps even two copies, since you may wear out one playing it and you will want another. This is the kind of album to which one returns time and time again because it is, in its way, a perfect thing, a slice of modern jazz conceived and executed in the very best style." - ***** Ralph J. Gleason, DownBeat




[d] 'Round Midnight [Prestige Version]

Reissue des Debütalbums der Emo-Punker Free Throw aus Nashville, "Those Days Are Gone" aus 2014, das bis heute das beliebteste Album bei den Fans ist. Neue Auflage auf Black Cherry Eco Mix Vinyl, bei dem jedes Exemplar ein Unikat ist.

Mirae Arts proudly presents The Way I Am and The Way You Yawn, the debut album from Katsunori Sawa under his KWARP alias. This six-track release explores the fleeting nature of youth and the weariness of aging, blending Sawa’s experimental roots with fresh, modular synthesizer-driven soundscapes.
From the forward-driving hi-hats and alien voices of "Frog FM" to the mechanical aggression of "Ultra," the album offers an imaginative auditory journey. Highlights include the playful chaos of "PlayStation" and the metallic rhythms of "Metal Gear."
About Katsunori Sawa: First emerging on the scene in 2008 as EOC with his debut on the UK-based Ai Records, Sawa has steadily built a reputation for innovation and collaboration within the underground music community. He co-founded the influential 10 Label and has paired his talents with an array of respected artists, including Yuji Kondo (as Steven Porter), Martsman (under the moniker Bokeh), and DJ Nobu (Nobusawa). These alliances have birthed releases on prestigious labels like Kynant Records, SNTS, and Token.
Creating his sound in a hidden studio set within a striking Tadao Ando-designed building, Sawa crafts a sonic landscape that fuses rhythmic noise with pulsating bottom-end rave abstractions. His work reached new heights with an album on Opal Tapes, making him the label’s first Japanese artist and firmly establishing his place in the global music conversation. His tracks have even been woven into the sets of electronic stalwarts such as Aphex Twin.
* Artwork by Jesse Osborne-Lanthier

A recording of a passionate live performance held in the northern land of Nemuro, which continues to be loved along with the first album "Tact." The title song is literally epic, like ice floes colliding in the ocean.

Wewantsounds is glad to continue its Akiko Yano reissue series with the release of the singer's third studio album 'To Ki Me Ki', recorded in New York and released in 1978 in Japan. It follows her cult "Iroha Ni Konpeitou" LP and keeps the similar blend of Japanese pop and New York funk found in the latter. "To Ki Me Ki" features such musicians as Rick Marotta, Will Lee and David Spinozza and also programmer Hideki Matsutake who would soon join the YMO with Akiko for their international 1979/1980 tour before she recorded her next studio album "Tadaima" that year, featuring the YMO musicians. "To Ki Me Ki" is reissued outside of Japan for the first time, remastered in Tokyo by revered engineer Mitsuo Koike and featuring original artwork by Tsutomu Murakami with 4 page colour insert and new liner notes by Paul Bowler....

Sonny Clark is one of the long list of fine jazz musicians who died too young. He died at age 31. This album from 1957 excellently captures what was the definition of jazz at that time, and this became one of the best jazz albums of all time. Sonny Clark's playing on this album has the sound of beautiful perfection, and (along with the great work of Paul Chambers on bass and ‘Philly’ Joe Jones on drums) the playing really swings. Sonny shines on “Tadd's Delight” and “I Didn't Know What Time It Was” with the crisp support from Chambers and ‘Philly’ Joe. He takes on the challenge of 'Be-bop', a very difficult tune, and pulls it off with his typical Sonny Clark touch.

Big Crown Records ist stolz darauf, das Debütalbum von Dave Guy zu präsentieren. Nachdem er seine Talente sowohl auf der Bühne als auch im Studio für Künstler*innen wie Amy Winehouse, Lizzo, Pharrell und Sharon Jones zur Verfügung gestellt hat und derzeit als Mitglied von The Roots jeden Abend in der Tonight Show auftritt, macht sich Dave Guy mit einem sowohl einzigartigen als auch modernen Jazz-Album selbstständig.

"Ruby" mischt seine musikalischen Einflüsse mit der Energie der Stadt, in der er aufgewachsen ist, fängt verschiedene Stimmungen ein und lädt den Hörer in die Welt ein, wie Dave Guy sie sieht und fühlt. Aufgenommen in Queens in der legendären Diamond Mine, wurde das Album von Homer Steinweiss und Nick Movshon produziert und enthält musikalische Beiträge von Leon Michels, Marco Benevento, Claire Cottrill und anderen. "Ruby" reiht sich sofort in die Riege der Klassiker ein, denn es ist ein vollendetes Album und nicht nur eine Ansammlung von Songs. Die Leadsingle "7th Heaven" eröffnet das Album mit einer hymnischen Energie, in der Daves Bläsersätze über donnernden Drums, ätherischem Gesang und tanzendem Klavier schweben. Footwork" ist eine lateinamerikanisch inspirierte Nummer, die mit Sicherheit den Soundtrack zu vielen Tanzveranstaltungen von SoHo bis Harlem liefern wird. Das Synthie-Intro von "Pinky Ring" bereitet den Stimmungswechsel vor, wenn der Track losgeht. Tiefe Basstöne unterstreichen das tadellose Schlagzeugspiel und Dave vergeudet mühelos keine Noten, wenn sich die Strophen und Refrains abwechseln. Die Platte lehnt sich an spirituelle Jazz-Vibes auf "Diamond Encore" an, mit einem dunklen und tiefen, fast "Axelrod-artigen" Rhythmus-Track, um dann mit dem Stomper "Still Standing" die Energie wieder aufzunehmen. "Dave Wants You" hat einen ganz eigenen Bop mit einem unorthodoxen Schlagzeugmuster, das Dave mit seinen Trompetenschlägen verankert. Das jenseitige Arrangement von "Drony Boy" stellt die Produktion auf ein Podest. Das erste Intro wirkt fast wie eine Pause auf dem Album, während das zweite Intro den halsbrecherischen Track einleitet, der gleich folgen wird. Eine bedrohliche Gitarre signalisiert den Aufbau und das Ganze wird durch Daves wunderschöne Trompetenriffs untermalt. "Quesodillas" und "Green Door" leiten den Herbst des Albums mit ihrer sanften und intimen Energie ein und "Ruby's Rubies" ist der perfekte Abschluss der Reise.

Young-Girl Forever' ist das neue, schillernde Elektropop-Album der in Wien lebenden Künstlerin Sofie Royer. Es folgt auf ihr Debütalbum 'Cult Survivor' von 2020 und 'Harlequin' von 2022.

Das Album zeichnet ein kühnes Porträt davon, wie es ist, heute eine Künstlerin zu sein - inmitten der Fallen des Kapitalismus, der existenziellen Unsicherheit und des ständigen Gefühls, mit Gleichaltrigen nicht im gleichen Takt zu sein.

Royer entlehnt den Begriff 'Young-Girl' aus den Preliminary Materials on the Theory of a Young Girl, die ursprünglich in der französischen anarchistischen Zeitschrift Tiqqun veröffentlicht wurden. Darin wird das Young-Girl als Symbol für den Konsumismus der Moderne dargestellt.

'Young-Girl Forever' schwankt zwischen Optimismus und Verzweiflung - es feiert das junge Mädchen und tadelt gleichzeitig die Kultur, die es hervorgebracht hat, und drückt so den Wunsch nach wahrer Befreiung aus.

Sofie Royer ist bereits mit Künstlern wie LCD Soundsystem, Lana Del Rey und Air aufgetreten.

- Für Fans von Weyes Blood, Lewis OfMan, Okay Kaya, Caroline Polachek, The Weather Station, Charlotte Gainsbourg, Jockstrap.

It is summer dawn . . . and you are alone. Here is music for your strange mood. The piano starts the first track, slow tempo beat, a strict beat, a swinging beat. Lillemor—here minor harmonies give the tune a rural, romantic feeling of some place in Spain or France. The tempo changes to medium fast—the flute solos. Light phrasing contrasts beautifully to the earthy, swinging beat of the rhythm section and the repeating piano figures. The trombone adds a new color, a counterpoint of sound and phrasing, backed by the pulsating beat of this wonderful rhythm and the driving piano. Summer dawn . . . This music has more to offer, because it shows the personality of Sahib Shihab at its best. Sahib is a universal musician who reflects musical experiences in jazz since the end of the thirties. He lived through the important periods of modern jazz with his heart and mind wide open toward everything that was good music, regardless of being termed "Mainstream", "Bop", "Cool", "Westcoast", "Eastcoast", "Hard Bop'', et cetera. When you listen closely to his music, you will find traces of all these, but they are immersed in his deep musicianship and his true jazz personality. Sahib Shihab's background reads like the record of a master of advanced studies. Furthermore he played and collaborated with the coolest jazz musician of that period. Above all let's name Budd Johnson, Theolonius Monk, Tadd Dameron, Milt Jackson, Dizzy Gillespie, Illinois Jaquet, Elmer Snowden, Luther Henderson, Larry Noble, Fletcher Henderson, Roy Eldridge. In his early professional years, Sahib was heard mostly on alto sax; later, more often on baritone sax and flute. Today, his name is inseparably connected with these two instruments. The unity of his jazz performances is not alone bound up with the com¬positions and the arrangements of Sahib Shihab, though in their understated simplicity they have a melodic beauty that is seldom found in jazz of today. The rhythmical subtleties add to the overall qualities of being relaxed vehicles for free-blowing, but there is an immediacy that you hear and feel every moment when listening which defies analysis. The playing of the rhythm section helps greatly to promote the sense of flux and contrasting constant renewal that makes listening to this record so invigorating an experience. Well, this is no surprise, with Kenny Clarke as the nucleus of the rhythm group. Kenny 'Klook' Clarke is a major figure and contributor in jazz, one of the founders of modern jazz, and is ranked as one of the all-time great drummers. He influenced a whole generation of musicians with his playing, though living in Paris since the middle of the fifties somewhat dimmed his name to the general American public. Nevertheless, his name alone will assure a connoisseur to expect top class musical experiences. Talking of the rhythm section we have to name Jimmy Woode's bass, which together with Kenny's drumming, is the driving force for the group and the reliable harmonic anchor for the improvisors. By the way, Jimmy has been with the Duke quite a while, and this alone is an award for extraordinary craftsmanship and artistry. The good sounding rhythm with its full-bodied color is also a result of the added bongos of Joe Harris, who manages to stay out of the way of the players—a quality not often found with drummers—but his playing is felt through the set. There are two members of the group not yet mentioned. Two Europeans, pianist-composer-arranger Francy Boland from Belgium, and trombonist Ake Persson from Sweden. Francy Boland this time is a sideman, though normally he is a leader of recording sessions, both as composer-arranger and as musical director of the band. In the fifties he was in the States writing arrangements for different name-bands, such as Basie and Goodman. In Europe, he is famous for his swinging modern big band arrangements; and his inventiveness as a writer is reflected in his piano playing. He has the talent of using the right dynamic approach every moment, thus making his playing helpful to soloists and interesting for listeners as well. Ake Persson has been Scandinavia's out-standing trombone player for about ten years. There are only a few trombonists in Europe who might match his talents at times, but they lack the consistency of his playing. He is impressive, whether playing in a big band, or whether main soloist in his own small groups. American musicians love the sound of his slide trombone and his easily flowing romantic improvisations, so he often joins American name-bands as they travel in Europe. The music speaks alone . . . , we said it before. You have your soul to feel the beauty, to follow lines and structure, and to enjoy the spiritual excitement. Whether you enjoy the flowing, easy sounding theme of "Please Don't Leave Me", or the climaxing piano solo in the same piece—the bass solo in "Waltz For Seth" or the swinging baritone sax—listen to the first bars of this solo and pay attention to Kenny. Whether you listen to "Campi's Idea", (named after Gigi Campi, the well known Cologne jazz enthusiast who organized this recording) with the romantic flute solo of Sahib, the interesting tempo changes, the piano comping, the moving trombone solo; or to the up-tempo "Herr Fixit", with the cooking Kenny and humorous, driving flute solo, you know that these six musicians where in the right mood, in the right stimulating surroundings to feel what we all feel when it's: SUMMER DAWN.

Alice Taylor was a popular session singer who sang background vocals for several local Philly groups including The Delfonics during the height of the Philly Soul boom of the early to mid-1970’s.

In 1974 Alice under the auspice of producer Emanuel ‘Manny’ Campbell Jr and fellow Philadelphian musician/composer Charles R. Bowen entered the famed Sound Room Studios in Upper Dardy PA, to record a session of her own. This session yielded two songs. The more commercial pop soul orientated “(I’m In Love With A) Rock ‘n’ Roll Singin’ Superstar”. A song which took influences from other popular songs of the time that mentioned one’s love for Rock ‘n’ Roll singers and taking road trips to L.A (Los Angeles) in an attempt to cash in. Although the elongated song title may at first be a tad off-putting the recording showcases Alice’s vocal talents to the full and in itself is a very good record. The second song “Sounds Ridiculous” is based around the theme of a girl falling in love with a guy who spends most of his time daydreaming rather than getting a regular 9-5 job. An excellent record that should find favour with 70’s/crossover soul fans alike.



Manny Campbell Jr used some of Philadelphia’s finest musicians on Alice’s session, notably session drummer Earl Young, reputedly the first exponent of the hi-hat cymbal a style of drumming used extensively throughout the disco period. Young had honed his skills during the 1960’s with his band The Volcanos, recording sessions for the Arctic and Harthon Record Labels. The Volcanos later became The Moods before morphing into The Trammps who Young recorded on his Golden Fleece Label with the group recording several further disco hits for Buddah Records prior to their worldwide hit “Disco Inferno” for Atlantic Records. Young’s strumming can be found on many other Philadelphia International, Sal Soul and MFSB recordings. The string and horn arrangements on the session were provided by another MFSB (Mother Father Sister Brother) pool of musician’s member, Don Renaldo.



“I’m In Love With A) Rock ’n’ Roll Superstar/Sounds Ridiculous” came out in November of 1975 as an initial pressing run of 500 copies for promotional use which sadly were not of the best quality with some background noise being present in the introduction on both sides of the single, a possible detrimental factor in the release gaining any significant airplay. It’s was the second and final release on Emandolynn Music’s short lived, Stage-Art label. The first release being another of Manny Campbell’s acts The Nu-Rons & Co “Disco Hustle/Can’t Do Enough Girl” (Stage-Art 1001). Sadly, Alice Taylor passed away sometime during the 1980’s. Soul Junction through its ongoing relationship with Emandolynn Music have taken the opportunity to license these now very sort after Alice Taylor songs, which have been remastered to remove the aforementioned sound problems present on the original release. Which are now presented to you as a 3 track EP which also includes a previously unissued alternative mix of “(I’m In Love With A) Rock ’n’ Roll Singin’ Superstar, a recent master tape discovery.

The Jesus Lizard sind zurück mit 'Rack', ihrem ersten Album seit 1998. Das Album enthält 11 Tracks mit flottem Gitarrenrock, wie man ihn nicht mehr gehört hat seit... seit The Jesus Lizard das letzte Mal eine Bühne in deiner Stadt erobert haben. The Jesus Lizard - Sänger David Yow, Gitarrist Duane Denison, Bassist David Wm. Sims und Schlagzeuger Mac McNeilly - sind zurück mit einem Album, das vor der Art von Verrücktheit nur so strotzt, die nötig ist, um die heutige AOR-Mittelmäßigkeit und den piss-perfekten Pop-Schwachsinn gleichermaßen zu besiegen.

Seit ihrer Gründung 1987 in Chicago haben The Jesus Lizard Zuhörer auf der ganzen Welt begeistert. Die tadellose, raketenartige Rhythmussektion von Sims und McNeilly war die perfekte Basis für Denisons zackiges, aber dennoch sauberes Riffing und Yows launischen Gesang, der sich als panischer Bürger, Realitätsflüchtling oder verletzter Meeressäuger manifestierte. Auf das Debütalbum folgten sechs weitere Studioalben, zwei Live-Aufnahmen sowie zwei Singles und EPs.

Auf 'Rack' kehren The Jesus Lizard neu formiert, erfrischt und voller Elan zurück. Keine lauen, faden Tracks, die zeigen, wie sie als Songwriter 'gereift' sind. Keine albernen Ausflüge in unnötige Genreübungen.

The Jesus Lizard. Sie sind vielleicht nicht mehr jung, aber sie werden nie, nie alt.

The Jesus Lizard sind zurück mit 'Rack', ihrem ersten Album seit 1998. Das Album enthält 11 Tracks mit flottem Gitarrenrock, wie man ihn nicht mehr gehört hat seit... seit The Jesus Lizard das letzte Mal eine Bühne in deiner Stadt erobert haben. The Jesus Lizard - Sänger David Yow, Gitarrist Duane Denison, Bassist David Wm. Sims und Schlagzeuger Mac McNeilly - sind zurück mit einem Album, das vor der Art von Verrücktheit nur so strotzt, die nötig ist, um die heutige AOR-Mittelmäßigkeit und den piss-perfekten Pop-Schwachsinn gleichermaßen zu besiegen.

Seit ihrer Gründung 1987 in Chicago haben The Jesus Lizard Zuhörer auf der ganzen Welt begeistert. Die tadellose, raketenartige Rhythmussektion von Sims und McNeilly war die perfekte Basis für Denisons zackiges, aber dennoch sauberes Riffing und Yows launischen Gesang, der sich als panischer Bürger, Realitätsflüchtling oder verletzter Meeressäuger manifestierte. Auf das Debütalbum folgten sechs weitere Studioalben, zwei Live-Aufnahmen sowie zwei Singles und EPs.

Auf 'Rack' kehren The Jesus Lizard neu formiert, erfrischt und voller Elan zurück. Keine lauen, faden Tracks, die zeigen, wie sie als Songwriter 'gereift' sind. Keine albernen Ausflüge in unnötige Genreübungen.

The Jesus Lizard. Sie sind vielleicht nicht mehr jung, aber sie werden nie, nie alt.

Eine Sammlung für M. Ward-Fans jeden Jahrgangs. "For Beginners: The Best Of M. Ward" versammelt 14 Tracks aus seiner gesamten Merge Records Discografie, einschließlich des neu aufgenommenen Songs "Cry". "For Beginners" ist sowohl eine Fibel und ein Mixtape mit Lieblingsstücken. Die Reihenfolge der Songs ist so ausgetüftelt, dass ihnen neues Leben eingehaucht wird. Beginnend mit "Chinese Translation" und "Poison Cup" vom 2006 erschienenen Album "Post-War", zeigt "For Beginners", wie Ward sein Können im Studio ausbaut. Seine einzigartige Coverversion von David Bowies "Let's Dance", aus dem 2003er Album "Transfiguration of Vincent", geht über in das überschwängliche "Never Had Nobody Like You" vom 2009er Album "Hold Time". Anstatt einer sauberen Entwicklungslinie, die ein chronologisches Arrangement suggeriert, ist das, was "For Beginners" zusammenhält, ist Wards tadelloses Können als Songwriter, das im Fokus bleibt während sich sein Sound von Low-Fi-Heimaufnahmen zu elektrischen, radiotauglichen Stompern und wieder zurück bewegt. Pünktlich zum 35-jährigen Jubiläum von Merge Records wird dieses Album eines der beliebtesten Künstler des Labels veröffentlicht und enthält mit dem Song "Cry" die erste neue M. Ward Aufnahme auf Merge seit 2018. "Cry" ist eine reduzierte Coverversion des Godley & Creme Pop-Klassikers, aufgenommen mit dem Folk Bitch Trio aus Melbourne, Australien. M. Ward über "Cry": ""Cry" wurde in einem tasmanischen Museum für moderne Kunst namens MONA aufgenommen. Ich saß am Ende eines langen Flurs, nur wenige Meter entfernt von Anselm Kiefers Skulptur eines 20 Fuß hohen Stapel von Bleibüchern, und links und rechts von mir, um ein einziges Mikrofon herum, saß das Folk Bitch Trio; wir probten und nahmen "Cry" in etwa 30 Minuten auf. Es ist mir ein Vergnügen, diesen Song zu einer Sammlung meiner schönsten Erinnerungen an das Musikmachen hinzuzufügen." Der Song ist der perfekte Schlussstein für eine Sammlung dieser Art und fasst Wards Stärke als Musiker zusammen: der Reichtum, den er in spärlichen Aufnahmen erreicht, sein Talent für Zusammenarbeit und seine Fähigkeit, die Seele eines akribisch ausgearbeiteten Popsongs zu durchschauen. Ein Mittel, um auf die Zukunft seiner eigenen Arbeit zu blicken, aber auch ein Rückblick auf seine Vergangenheit.

In den letzten 10 Jahren hat das britische Alt-Pop-Duo HONNE unglaubliche Höhen erreicht - seit ihren ersten bescheidenen Aufnahmesessions in East
London haben sie mehr als drei Milliarden Streams erreicht und mehr als 200.000 Tickets für Headline-Shows auf der ganzen Welt verkauft. Es ist eine
Geschichte des Wachstums, der Reife und der Verwandtschaft.
Auf ihrem bezaubernden neuen Album - dem spielerisch betitelten OUCH - sind James Hatcher und Andy Clutterbuck bereit, sich wieder auf ihr
Fundament zu besinnen und die Art von melodischem Überschwang und herzzerreißendem Songwriting zu verwirklichen, die nur HONNE bieten
können. Das Ergebnis ist ein tadellos detailliertes und wunderbar mitreißendes Album, das von den tiefgreifenden Veränderungen in ihrem eigenen
Leben geprägt ist. Es folgt einer Erzählung, die mit einem Teenagerschwarm beginnt und mit der Verantwortung des Familienlebens endet.
Von der Hip-Hop-Produktion der frühen 90er über den glatten Pop des 21. Jahrhunderts bis hin zu Balladen - OUCH zeugt von der frenetischen
Kreativität, die nur HONNE hervorzaubern können, denn sie haben jeden einzelnen Aspekt dieses Projekts selbst geschrieben, aufgenommen und
produziert.

Das ätherische dritte Album der texanischen Slowcore Waver. Ein lethargisches, spärliches und herbstliches Werk, The Golden Band ist das Album, auf dem The American Analog Set den Mut entwickelten, mit 40 km/h auf der Autobahn zu fahren. Veröffentlicht von Emperor Jones im Jahr 1999, wurde diese Numero-Edition zum 25. Jubiläum von den Originalbändern neu gemastert und in einer wunderschönen Hülle tadellos reproduziert.

Das ätherische dritte Album der texanischen Slowcore Waver. Ein lethargisches, spärliches und herbstliches Werk, The Golden Band ist das Album, auf dem The American Analog Set den Mut entwickelten, mit 40 km/h auf der Autobahn zu fahren. Veröffentlicht von Emperor Jones im Jahr 1999, wurde diese Numero-Edition zum 25. Jubiläum von den Originalbändern neu gemastert und in einer wunderschönen Hülle tadellos reproduziert.

Das ätherische dritte Album der texanischen Slowcore Waver. Ein lethargisches, spärliches und herbstliches Werk, The Golden Band ist das Album, auf dem The American Analog Set den Mut entwickelten, mit 40 km/h auf der Autobahn zu fahren. Veröffentlicht von Emperor Jones im Jahr 1999, wurde diese Numero-Edition zum 25. Jubiläum von den Originalbändern neu gemastert und in einer wunderschönen Hülle tadellos reproduziert.

Bluets' debut on Kimochi Sound seamlessly integrates into the label's well established and distinctive style. This one, with a hand-sprayed sleeve as always, opens with "if you can imagine," a confident bit of microhouse that mixes rich melodies and a lively bassline. 'Action Potential' echoes RDMA's aesthetic with its precise beats and on the B-side you will find a vaporous melody that weaves through sparse downbeat house grooves to make for a dreamlike atmosphere. Closing the EP, 'Buong Bilog' features distorted IDM rhythms and a poignant refrain that balances twitchy textures with melancholic tones. This carefully crafted release bridges home-listening electronics with dancefloor clout.

Compiled with the assistance of the band in 2007, Some Furtive Years - A Ned's Anthology collects 16 tracks from the high energy, post ""Madchester"" alternative rock outfit Ned's Atomic Dustbin. A tad shorter than 2003's superior Terminally Groovy: The Singles compilation, Furtive Years dutifully covers all the highlights like ""Grey Cell Green"", ""Kill Your Television"" and ""Until You Find Out"", proving what an underrated band Ned's Atomic Dustbin was. For the first time, Some Furtive Years - A Ned's Anthology is released on vinyl. This 2LP is available as a limited edition of 1500 individually numbered copies on yellow coloured vinyl and includes an insert. The D-side contains an etch of the bandlogo.

This new collaboration started by Dutch/Swiss baritone saxophonist Jeroen Visser and Ethiopian dancer and cultural ambassador Melaku Belay features nine musicians and dancers. Their album "GOJO" pays tribute to the golden age of the Ethio-jazz in many refreshing ways. Where the old recordings were played with western instruments, this release leans on traditional instruments like the Ethiopian lyre the kirar (Robel Solomon/Sentayehu Tadesse), a one-string violin the masinqo (Habtamu Yeshambel), and the kebero as percussion (Mesay Abebay). The additional saxes (Jeroen Visser/Steve Buchanan) go well with the soulful and funky arrangements. Changes in rhythm, some experimental improvisations and wild outbursts, and the mesmerizing voice of Nardos Tesfaw are completing the overall hypnotic mood.

First ever vinyl release of the second album released in 2012!

Fuyumi Abe (Vo.G) is Japanese singer-songwriter whose works have been featured in numerous commercials and movie theme songs since her major label debut in 2007.

This ambitious work is produced and arranged by Kei Kono, who has worked with Hikaru Utada and others, in pursuit of simplicity.

Neben seinem Status als einer der besten Songwriter
seiner Generation, sowohl in seiner Solokarriere als auch
als Mitglied der einflussreichen Band Soft Cell, hat sich
Marc Almond den Ruf erworben, einer der größten
Vertreter der Kunst der Coverversion zu sein. Marc hat es
immer verstanden, sich einen Song zu eigen zu machen,
und seine Coverversionen gehören zu den Meilensteinen
der modernen Popmusik - von 'Tainted Love' bis 'The
Days Of Pearly Spencer', von 'Something's Gotten Hold
Of My Heart' bis 'Jacky'.
Für sein neuestes Solo-Album "I'm Not Anyone" hat
Marc es wieder getan, mit einer beeindruckenden Reihe
von tadellos ausgewählten Interpretationen von Perlen wie
Don McLean, King Crimson, Paul Anka, Colin Blunstone
und Mahalia Jackson. Auf "I'm Not Anyone" ist der 11
Songs umfassende Zyklus zu einem einheitlichen,
gefühlvollen Erlebnis mit tiefer emotionaler Resonanz
vereint.

2024 repress

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

Mario Rusca is most probably the biggest living Italian jazzman. His major influences are Duke Ellingtons composing abilities and Hampton Hawes' brilliant sound. He immersed himself in the harmonic inventions of the incredible pianists of the 60s and 70s: from Bud Powell to Bobby Timmons, Wynton Kelly and Bill Evans. Mario Rusca has been the house pianist of Capolinea, the most important Italian jazz club of the 70s and 80s. He went on to perform in important national and international settings-representing Italy in the "Piano Solo'' category of the "International Festival of Varsavia" and participating with his quintet at the "International Festival of Montreal". He has collaborated with a multitude of prestigious names: Chet Baker, Tony Scott, Curtis Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Bob Berg, Lee Konitz, Dusko Gojkovic, Al Gray, Kay Winding, as well as Stefano Bagnoli, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Jimmy Owens, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy, Steve Grossman, Franco Ambrosetti, Woody Shaw, and Eddie "Lockjaw" Davis. With Gerry Mulligan, in particular, he toured in 1976 and with Lee Konitz, he recorded Wheres The Blues? at the end of the 90s. In this regard, Suspension in 1975 with Tullio De Piscopo and Recreations in 1976 with the phenomenal Larry Nocella playing saxophone are still very beautiful and modern recordings. As Mario says, "In jazz, you choose the companions that you can dialogue the most with.there needs to be an interplay, there needs a...a way of feeling, which is why you choose musicians because they feel like you, or, if nothing else, they follow you". The chemistry between the three of them is perfectly aligned, synergistic. Tonys drums and Riccardos bass create a soft and essential rhythmic tapestry that never hinder the creative prowess of the band leader. Here Mario Rusca is interpreting the most dynamic jazz standards. Blues for Gwen by McCoy Tyner, Blues Walk by Lou Donaldson, Blue Minor by Sonny Clark, Turnaround by Ornette Coleman, Bass Blues by John Coltrane or even Super Jet by Tadd Dameron. You cant help but imagine yourself on top of a convertible, smiling and carefree, while they travel through the soloist progressions of Turnaround and Super Jet. We need to underline the four originals included in this recording: Blue Dream (for Allerim), Tempo Blues, Double Horn e Monochrome Blues, extremely suggestive compositions, rich of intuitions and which well exhibit Mario Rusca composition skills and his ability to play the blues. MONOCHROME BLUES is a winning trio album which will deeply please the most demanding jazz hears. The musicians Mario Rusca (piano) Riccardo Fioravanti (bass) Tony Arco (drums)

Dudu Tassa, einer der führenden Rockstars Israels, ist der Enkel des kuwaitischen Musikers Daoud Al Kuwaiti, dessen musikalische Zusammenarbeit mit seinem Bruder Saleh, den Al Kuwaiti Brothers, in der arabischen Welt zwischen den 1930er und 1950er Jahren berühmt wurde. Dudu Tassa & The Kuwaitis eröffneten vor einigen Jahren das Coachella-Festival und wurden auch von Radiohead als Vorgruppe auf einer ihrer US-Tourneen ausgewählt. Die Brüder Al Kuwaiti gehörten in der ersten Hälfte des 20. Jahrhunderts zu den größten Komponisten und Musikern in Bagdad. Dudu Tassa hat einige der Aufnahmen der Al Kuwaitis aufgenommen und sie zu seinem eigenen Sound weiterentwickelt und modernisiert. Diese neue Version des Albums enthält zwei Bonustracks, darunter eine Live-Version von 'Eshrab Kasak Withana' (feat. Jonny Greenwood/Radiohead/The Smile).