Search:te

- 'Take Her Up To Monto' is the follow up to Ro´isi´n's critically acclaimed Mercury Prize nominated album 'Hairless Toys' and is billed as her most daring and creative yet.
- Never an artist to stand still, 'Monto' features everything Murphy has always done but seen afresh, boasting disco fancy, dark cabaret, the sonorities of classic house and electronica and the joy and heartbreak of pure pop drama resulting in her most magnificent song structures so far.
- The follow on from Roisin's Mercury Prize nominated 'Hairless Toys' album last year, Ro´isi´n is at her most creative peak yet.
- Released on embossed CD / double LP with digital download .

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog tape Contains Otis Redding's posthumous hit "Sittin' On the Dock Of the Bay" Appeared on Rolling Stone's 500 Greatest Albums of All Time, rated 161/500! Pressed at Quality Record Pressings Gatefold old-style "tip-on" jacket by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Cryovac is a family of artists that work as one machine. Individual style bands together and moves, as cogs, this machine forward. A.Garcia maintains and manages production on every level, even the pressing at the world famous Archer Record Press. Cryovac is a collaboration between artists and craftsmen to make a quality product. Each project Cryovac champions is meant as a gift for the true believer.

Cryovac #28 starts out with Jason Garcia's frantic head banger “Trapped in purgatory”. This classic 4/4 rocker builds intensity by layering screaming tones to crescendo in a steady drive. “Ichabod”, Garcia’s second track on the A side, is a spartan groove with a stoic delivery of minimalism; a stripped down rhythm with a serious attitude.

A.Garcia and M.Kretsch begin the B side with a reggae-punk techno experiment that delivers a rowdy funk.“Rock the dance bah” is Clash inspired minimal with a walking bassline, texas style percussion, and a guitar twack on the up beat. Garcia and Kretsch collab again on the B2 with “Stillgar”; a blend of synths working around each other as one storm guiding a rambunctious beating to a mystic reverie. These tracks illustrate the duo's production method and approach to the techno sound.

Our artwork for this release was provided by Nick Retzlaff. He is an artist and stand-up comic living with autism, and expressing his unique view of the world.

Boomstraat 1818's newest release 'Durgan's Odyssey' is a warm and melodic Detroit techno ep, inspirited by summer visits to the Cornish coast at Glendurgan.

Kuba Sojka delivers the A1: 'Root Loop', a dj friendly peaktimer, tested on multiple crowds with an ascertained result. We are blessed to release this track on our label.

'Remain' is the A2 of the ep, in The Parallel's typical deep Detroit style: combining warm pads with classic Roland percussion.

Aztronouth is a longtime friend of the label and founder of the legendary Amsterdam based Mechanism parties. He takes care of the A3 with his track 'Tears From Detroit', a clever analog 'one take' electro recording paying his respects to the Motor City.

Acclaimed French techno veteran Taho is on B1. Well known for his classics such as Mutant Fight the Creature and Forest of Wonders. His track 'Dub Jazz' says it all: it sounds like Brendon Moeller and Saint Germain had a love baby.

On the B2 Boomstraat 1818 label owner Stroef combines his analog 808 drums with strings and pads to deliver a warm and captivating melodic Detroit track called 'Main Gate'.

Ray Mono, who first came onto the scene as a resident at well regarded Leeds party Mono_Cult more than a decade ago, is now helming the label of the same name.

After a notable first outing, he is quickly back with another of his supple and subtle minimal workouts. 'Synchronicity' is a brilliantly warm and bubbly opener with balmy pads and sci-fi signifiers, while 'Awakenings' picks up the pace for a more driving and late-night tech house vibe that oozes drum funk.

'Synchronicity' then comes as a Nu Zau remix with more chattery percussion and textured bass rumbles, and Sepp's remix of 'Awakenings' is deep, bumping minimal house. A super fresh EP once more.

FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY

Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.

In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.

Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.

It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”

It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.

Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need

- iam8bit Edition - 2xLP on Ice Crown Blue Vinyl - Featuring Music from World of Warcraft: Wrath of the Lich King - Music Composed by Russell Brower, Derek Duke, Glenn Stafford, Jason Hayes, and Neal Acree - Album Design by Ryan Brinkerhoff // Wrath of the Lich King was more than just World of Warcraft's second expansion. For the game's millions of players, its release was a watershed moment in the MMORPG's then-young history, a defining time that rocketed the game into a new stratosphere of popularity and prestige. Northrend may be cold, but we here at iam8bit are feeling the warm and fuzzy embrace of nostalgia, thinking back on fond memories of countless icy raid nights. To commemorate this feeling, we collaborated with the folks at Blizzard Entertainment to create a 2xLP worthy of the Frozen Throne! Inside, you'll find select tracks from Russell Brower, Derek Duke, Glenn Stafford, Jason Hayes, and Neal Acree unforgettable soundtrack, presented across two records and packaged in album design from seasoned talent Ryan Brinkerhoff. This iam8bit version comes on lovely Crown Blue vinyl. Whether you're rolling need or greed, we know you're gonna want this one. Don't miss out on this celebration of one of the greatest expansions of all time!

Thom Yorke, Jonny Greenwood und Tom Skinner aka The Smile kündigen heute ihr brandneues Album „Wall Of Eyes“ an, das am 26. Januar 2024 bei XL Recordings erscheinen wird. Zugleich veröffentlicht die Band den Titelsong des Albums samt Musikvideo, bei dem Paul Thomas Anderson Regie führte. Das neue Album, das zwischen Oxford und den Abbey Road Studios aufgenommen und von Sam Petts-Davies produziert sowie abgemischt wurde, enthält zudem Streicherarrangements des London Contemporary Orchestra.
Das neue Album „Wall Of Eyes“ von The Smile ist der Nachfolger des gefeierten Debütalbums „A Light For Attracting Attention“ aus dem Jahr 2022.

Lovely Is Today (Edit) by Eddie Harris b/w September 13 (Edit) by Deodato | Galaxy Sound Co. — GSC4540, test pressing | Hot off the presses via the always-on-point @galaxy_sound_company crew. This will mark number 40 in the GSC45 series. Every release has been stellar, elevating it to the rarified “buy-it-on-site” status. If you love hip-hop, broken beats & top-class edits, anything w/ their stamp on it — you know it’s going to be top notch. They’ve got a bottomless discography full of that good ish, & here comes another addition to the cannon in the form of a pair of glorious jazz-funk nuggets.

Side A is an edit of “Lovely Is Today” by Eddie Harris, which is taken from his brilliant 68 soul-jazz LP “Plug Me In”. Chicagoan Harris pioneered the usage of amplified electric Varitone saxophones. It features a stellar line-up: Ron Carter (bass), Haywood Henry (baritone sax), Jodie Christian (piano), Garnet Brown (trombone), James Bossy (trumpet), Grady Tate & Richard Smith on drums, &, of course, Harris on tenor sax. Here the edit trims off the intro noise & extends the breaks recalling hip-hop songs it sampled: “2 Deep” by Gang Starr, “Intro” by Mobb Deep, “It Ain’t Hard To Tell (The Stink Mix)” by Nas, “What’s My Name Yo?” by MC Lyte, among others.

Side B is an edit of “September 13” by Deodato, taken from his self-titled jazz-funk 73 LP. Deodato, aka Eumir Deodato De Almeida, is a Brazilian artist known for his range of production work for Kool & The Gang to Björk, as well as TV & film scores & collabs w/ Milton Nascimento, Ithamara Koorax & Marcos Valle. Heads will know this one as the source for heaters like “In The House” by Pete Rock & C.L. Smooth, “Park Joint” by Camp Lo, “Epoca” by Gotan Project, “Don’t U Know” by DJ Rels aka Madlib & “Track 13” on Beat CD #2 by J Dilla.

Batov Records' Middle Eastern Grooves 45s series welcomes the latest addition to its eclectic roster - a two-track EP from Eje Eje, the psych and funk inspired project from Şatellites band leader and producer, Itamar Kluger. Featuring the tracks "That Rainy Down" and "Coral Sex," the EP showcases Eje Eje's unique blend of Middle Eastern melodies, soulful grooves, and psychedelic sounds.

On the A-side "That Rainy Down," The electro baglama player takes the lead, building and building as if, “he is pushing himself to his limit”, says Itamar, “seeking catharsis as he walks to the edge of the cliff with confidence”, whilst the a baladi rhythm plays like an immense march of drummers. On the B-side we find the funkier "Coral Sex", which according to Itamar tells a story of a drunk tramp bothering the refined and self-important occupants of an exclusive hotel lobby. Reflecting this friction, the track juxtaposes a silky and sophisticated R&B sound, with loosely, pr even drunkenly, played take on rebetiko, a traditional Greek music associated with the poorest of city dwellers, played on a long-necked Greek lute known as a bouzouki.

As each track develops, new layers are revealed, inviting the listener to delve deeper. The effect is intentional. As Itamar says, "there is this kind of music that hooks you in a different way every time you hear it, different places in the songs lighting up in different colors, like slowly revealed layers. In our (Eje Eje) case, it is just such a hazed blend. It could make a very specific atmosphere, color a very specific movie scene that is lost in time or yet to be directed, or a very specific moment with your headphones on a long bus to the desert."

Itamar Kluger is best known for his work with the Şatellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France.

Eje Eje’s first 45 promises to be at least as quirky and original, if not more so, since the project is even more unshackled from traditional concepts of a band.

Edo.G's latest Album FreEDOm couldn't come at a better time in history as we are in an age where it seems like our freedoms are slowly getting taken away with a corrupt dictator in office.

FreEDOm has a sound that is reminiscent to one of your favorite Hip-Hop albums with songs that touch every part of your life. Edo.G's conscious lyrics over banging beats are bound to resonate and inspire. The song "Smoke" features Masta Ace, marking their first collaboration since the critically acclaimed 2009 "Arts & Entertainment" album. “Boom”, Produced by Sir Williams is the first music video from the album that sheds light on gun violence and the affect it has on victims, families and communities. FreEDOm is Edo.G’s 15th studio album produced by up and coming producers Torchbars, Kelz With Tha Heat, Sir Williams, Geronimo X, DJ Scienz & more.

If the album wasn't enough, the Digipak CD includes a full-length documentary based on the ED O.G & Da Bulldogs hit song "I Got To Have it". This ground-breaking documentary is a true artistic masterpiece on how one song can change your life. This is an in-depth look into Edo.G's journey through the music industry being dropped from a major label to finding his way independently. It highlights his life and career from his early teenage years to the present day. Through touring the world and making a positive impact with his music, Edo.G’s continued relevance in Hip Hop is not to be questioned.

Das zweite und letzte Studioalbum der Punk-Ikonen - X-Ray Spex. Das heiß begehrte Album wurde 1995 in einer sehr kleiner Auflage nur auf CD bei Receiver Records in Großbritannien veröffentlicht und war in den letzten 27 Jahren offiziell nicht erhältlich! Das Album vereinte die original X-Ray Spex-Sängerin Poly Styrene mit der ursprünglichen X-Ray Spex-Saxophonistin Lora Logic und dem Bassisten Paul Dean sowie dem Kula Shaker-Frontmann Crispian Mills an der Gitarre unter seinem damaligen Pseudonym Red Spectre. Das Reissue wurde von den Original-Masterbändern neu gemastert und ist zum ersten Mal überhaupt auf LP erhältlich! Mit dem originalen und erweiterten Artwork, einschließlich bisher unveröffentlichter Texte und originaler Cover-Notizen von Poly. Die Popkultur ist voll von klassischen Alben, die iregndwie durchrutschen. In den letzten Jahren haben die verstorbenen Poly Styrene und X-Ray Spex mit ihrem 1978er Debütalbum "Germfree Adolescents" Kultstatus erlangt, aber das 17 Jahre später veröffentlichte Nachfolgealbum "Conscious Consumer" ist im Sand der Zeit untergegangen. Heutzutage wissen die meisten Leute nicht einmal, dass X-Ray Spex ein Nachfolgealbum hatten. Diese liebevoll zusammengestellte Neuauflage rückt ein verlorenes Juwel ins Rampenlicht, das viele Merkmale des Debüts aufweist, aber durch eine andere Brille betrachtet wird. Conscious Consumer" war eine Weiterentwicklung des klassischen Debüts mit derselben Punkrock-Dringlichkeit und denselben Konsumthemen, aber mit einer poppigeren Kante und einer durchdachteren Weisheit, die aus der Perspektive eines älteren, weiseren Krishna-Anhängers aus den Höhen und Tiefen des Lebens geschöpft wurde. Im Jahr 1995 war das Album ein unerwartetes Comeback und wurde ein verlorener Klassiker. Es war das erste neue Material, das die Band seit Jahren aufnahm, obwohl viele der Songs bereits ein Jahrzehnt zuvor geschrieben worden waren. Nach der Veröffentlichung verschwand das Album jedoch schnell vom Radar, lang bevor Poly dihren verdienten Kultstatus erlangte. Die Band, die sich 1991, 1995 und 2008 neu formierte, wird heute weltweit dafür verehrt, dass sie eine neue Art von musikalischem Lebensgefühl ausgelöst hat. Die verstorbene Poly ist heute ein Pin-up der Punk- & Popkultur für eine Originalität und einen Feminismus, die zu dieser Zeit kaum existierten. Ihre bissigen, witzigen und brillanten Texte und ihre unverwechselbare Stimme haben den Test der Zeit bestanden, und zusammen mit der ursprünglichen Saxophonistin der Band, Lora Logic, ist sie Teil der Punkrockgeschichte geworden. Die unscharfen Schnappschüsse der kurzen frühen Besetzung zeigen den frechen und scharf gekleideten Teenager-Kern, der vor Talent, Originalität und Stil strotzt, in einem Standbild der popkulturellen Punkrock-Perfektion. Wenn er sich das Album nach einer langen Pause wieder anhört, ist Bassist Paul Dean überrascht. Conscious Consumer" klingt jetzt so viel besser als in meiner Erinnerung. Damals wurde es nicht richtig veröffentlicht und deshalb kennt es niemand. Wenn du Germfree Adolescents liebst, wirst du Conscious Consumer lieben, sie sind miteinander verbunden. X-Ray Spex hatten nicht nur ein großartiges Album, sie hatten zwei!" CD, Eco Mix LP (random colour) & Crystal Clear LP (for Indies Only)

Into the best Balearic tradition boldly steps Milan’s Rollover crew. As well as a regular party in Milan, the Rollover DJs (Tiberio Carcano & Rocco Fusco) have been making edits and releasing tunes over the past several years, but with this release there has been a step change in ambition. The latest collection of songs has been produced in a studio with actual musicians and songwriters, but with the ear of an experienced DJ. The best of both worlds. It was recorded almost exactly one year ago in December 2022, with the cream of Italian players, including bass player and Jovanotti collaborator, Saturnino, sticksman Sergio Carnevale, vocalist David Blank and guitar and synth boffin Lorenzo Morresi, who’s helped the guys with production. It follows in the tradition of a new generation of Italian musicians, like Nu Genea, Mystic Jungle Tribe and also DJs like Volcov. The lead single, ‘What Do You Live For’ was what Rocco & Tiberio describes as, “a funky track inspired by the early 1980s” and grooves so hard, with Blank’s message hitting right in the solar plexus. This will be followed by a pair of bangers, ‘Change My Mind’, a mid tempo disco chugger that is a tribute to LTJ Experience, the Bologna DJ Luca Trevisi, while ‘Never Found The Way’ heads towards Arthur Russel, before pealing off directly to the dancefloor. There’s also a Bawrut remix that adds some urgency and darkness to proceedings. The package is completed by lovely artwork by Riccardo Corda, whose work has adorned the Nu Genea releases. Is it Balearic? We think it is.

Collaborations don’t get much more biblical than this. Solo star, Oasis legend and force-of-nature Liam Gallagher has teamed up with John Squire, one of the most influential guitarists and songwriters of his generation via his time with The Stone Roses. The duo will set a high watermark for 2024 when they release their first single together, ‘Just Another Rainbow’, on January 5th, on limited 7” vinyl.



There will be much more new music to come - and there could well be shows, too - but for now ‘Just Another Rainbow’ lives up to the highfalutin expectations that come with such a collaboration.

Vibraphone Records starts the new year with another banger from Basic Realities! Dubtroit is a classic techno hommage to Motor City and it comes around with an stunning remix by the Legend, Mr. "Inner City" Kevin Saunderson! The Vinyl is expected to be out last week of January!

1976 hatte Michael Hoenig eine kurze Zusammenarbeit mit Manuel Göttsching von Ash Ra Tempel in Berlin; eine 48-minütige Aufnahme einer der Sessions, die 1995 unter dem Titel "Early Water" auf Bernd Kistenmachers Label Musique Intemporelle veröffentlicht wurde. Das Album wurde gestrichen und war lange Zeit nicht erhältlich. Nun wird es endlich eine Wiederveröffentlichung von "Early Water" geben. Michael Hoenig erinnert sich noch: "Während ich an dem Album "Departure From The Northern Wasteland" arbeitete, hatte mich Manuel Göttsching gefragt, ob ich mit ihm für einige Konzerte in Frankreich zusammenarbeiten würde, da seine Gruppe gerade eine Winterpause eingelegt hatte. Wir probten drei oder vier Wochen bei mir zu Hause. Eines Abends bekamen wir einen Anruf wegen einer fehlenden Garantie, woraufhin wir beschlossen, die Tournee abzusagen. Nur zum Spaß spielten wir ein letztes Mal eines der geplanten Sets. Obwohl ich mich nicht daran erinnern kann, eine Aufnahmetaste gedrückt zu haben, hat jemand kürzlich ein Revox-Band mit eben diesem Set ausgegraben. Nach einer digitalen Klangarchäologie wurde es soeben unter dem sehr passenden Titel "Early Water" veröffentlicht." Und Manuel Göttsching fügt hinzu: "Leider wurden einige Konzerttermine nicht rechtzeitig bestätigt und wir mussten die komplette Tournee erst am Tag vor der Abreise nach Frankreich absagen. Dennoch haben wir an diesem Abend unsere letzte Probe "für alle Fälle" aufgenommen. Es ist ein fließendes, harmonisches Stück geworden, das viel von der optimistischen Stimmung des Jahres 1976 widerspiegelt. In den frühen 1980er Jahren zog Michael nach Los Angeles. Als wir uns im November 1994 wiedertrafen, schlug ich vor, dieses alte Stück von uns zu veröffentlichen. Michael nahm das Originalband mit nach Los Angeles, restaurierte es liebevoll und nun, hier ist es wieder!"

Boundary caught our ears when he was just a 19-year-old, a true genius, he's been making music since he was 13 with a maturity and depth well beyond his years. We're absolutely gassed to get him onto the label with a transcendent LP that hits you right in the feels. Hailing from the Dominican Republic, Boundary leans heavily on all the good stuff from early Detroit techno, UK & Japanese ambient, and leftfield techno, stitching things together with immaculate drum programming, wandering basslines, and ethereal pads.

Sometimes brilliantly raw and gritty, at other times delicate and refined, this is an LP that ranges from deep, glassy ambient through to 140 bpm (and beyond!) pumpers. It's classy techno from start to finish, think Aphex Twin meets PLO Man with an early Detroit twist. Limited cassette run and digi, don't miss out!

Mirage is a cosmic collaboration between the Silver Apples and Makoto Kawabata of Japan's Acid Mothers Temple. Packaged in a deluxe jacket printed with metallic silver ink. This album is dedicated to the memory of Simeone Coxe who died September 8, 2020 while this project was being assembled. Dragonfly's First Flight, taking up the full side A, features Simeon Coxe and Kawabata Makoto jamming over familiar Silver Apples hypnotic rhythms. Fans of both groups will delight in the interplay between Simeon's keyboard and Makoto's drone guitar feedback soloing. Side B ranges from free-form freakouts to ambient poetry readings by Simeon with Japanese translation spoken by Makoto. Future Reminiscence, which closes side B, sounds like a long-lost Silver Apples

Die New Yorker GUHTS (ausgesprochen 'guts') bezeichnen sich selbst als 'Avantgarde-Post-Metal-Projekt, das überlebensgroße Klänge und tief emotionale Musik liefert'. Nach eigener Aussage ist der Musikstil von GUHTS nicht nur von kultigen Metal-Bands wie Gojira, Cult of Luna, YOB und Deftones beeinflusst, sondern auch von unkonventionelleren Acts wie Bjork, Subrosa, Isis, Julie Christmas und sogar PJ Harvey. Es ist zweifelsohne schwer, mit einer starken feministischen Ader, es ist kathartisch und gewichtig, ein formidables Debüt für eine so neue Band. GUHTS wurde 2020 von Scott Prater (Witchkiss), Amber Burns (Witchkiss) und Dan Shaneyfelt (Black Mountain Hunger) als Passionsprojekt gegründet. Nach der Veröffentlichung ihrer ersten EP "Blood Feather", die begeisterte Kritiken vom Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation und anderen erhielt, konzentrierten sich die Mitglieder auf neue Ideen. Brian Clemens (Sleaping Dreaming) & Daniel Martinez (Nefariant) stießen 2022 zu GUHTS und die Band begann schnell, Pläne für die Aufnahme von "Regeneration" zu schmieden. Seitdem haben sich GUHTS mit ihren kraftvollen Live-Auftritten einen Namen gemacht: Sie teilten sich die Bühne mit Bands wie Yob, Cave in und Marissa Nadler und traten auf dem Maryland Doom Fest, Crucial Fest und Ohio Doomed and Stoned Fest auf. Musikalisch ist "Regeneration" eine kraftvolle und intensive Reihe von Songs, die durch einige sehr kraftvolle und ausdrucksstarke Gesangsdarbietungen gekrönt werden. Langsame Akkorde, darüber liegende hohe Gitarrenlinien, die durchdringen und schimmern. Das Schlagzeug hämmert, Streicher, Pianos und Synthies erweitern die Palette. Atmosphärischer Sludge, Metalgaze, mit Verbindungen zur New Yorker Noise-Linie von The Velvets und Sonic Youth. Streng limitierte Vinyl-Pressung in einer farbigen Hülle, bedruckter Innenhülle und Download. CD in einem 4-seitigen Digipack mit 4-seitigem Textheft.

We're both over the moon and at the same time sad to have this track with us on Food Music, as we wave goodbye to one of UK house music's most talented duos. After releasing their sublime 'Tell Ya Something' with us, Mak & Pasteman will be calling it a day to focus on personal projects and what a way to sign off.

This looped up disco thumper tops the tree when it comes to the right vibe and production, and as if this wasn't enough, house legend Junior Sanchez joins the digital package with a huge rework and completes the perfect send off for Craig and Matt.

Thanks for choosing us to close your huge musical chapter - and we hope you won't be missing for too long!

"January 14, 2022 — (Hollywood, CA) —GRAMMY® Award-winning duo Bob Moses announced the upcoming release of their highly anticipated third album, The Silence in Between. Released on April 29th, The Silence in Between will mark the Los Angeles-based band’s first release since signing to Astralwerks in a unique global partnership with Domino Recording Co. In celebration of the album announcement, Bob Moses have also shared their exhilarating new single “Love Brand New.”

One of the most anthemic moments on The Silence in Between, “Love Brand New” finds Vancouver-bred musicians/producers Tom Howie and Jimmy Vallance tapping into their deep-rooted love for ’90s alt-rock and left-of-center dance music. Written with Michel Zitron and John Martin (a Swedish production duo known for their work with the likes of Avicii and Swedish House Mafia), the track encompasses a glorious collision of moody guitar tones, mercurial textures, and wildly propulsive beats as Bob Moses channel the dizzying euphoria of new romance."

The Tables Will Turn EP marks the comeback of Senegalese singer Faada Freddy after a long recording silence since the release in 2016 of a first album The Gospel Journey, punctuated by some 300 concerts worldwide.
Tables Will Turn confirms an uncompromising musical approach where the only resources are human "My music is 100% organic and 0% technological" summarizes Faada to evoke a device, already proven on Gospel Journey that solicits the mouth and body to imitate the sound of instruments.

Justin Drake and Clive Henry, recognised as the legendary Peace Division, stood out as one of the UK's most successful tribal/tech house production duos from the late 90s to the mid-00s. Their contributions extended to renowned British labels such as NRK and Junior London, as well as releases with Hooj, Crosstown Rebels, and major label remixes.

Lesser-known but equally intriguing was their venture into a different musical realm under the alias Soul Purpose. Shifting towards a deeper shade of house, Soul Purpose featured tracks characterised by lush chords and rolling basslines, placing a strong emphasis on the soulful elements.

Originally released on Low Pressing Limited, an offshoot label of Clive Henry and Rocky (X-Press 2) iconic Low Pressing, the four Soul Purpose titles emerged between 1997 and 1998. Despite being somewhat under the radar, these tracks gained recognition among DJs in the know. Now, the Selected Works release, compiled from the original DAT tapes and fully remastered, reunites the entire Soul Purpose catalogue for the first time in 27 years since their initial release.

Morphing Territories’ self-titled imprint serves as a vessel for the artist’s timeless approach to techno, characterized by hypnotic, unpredictable atmospheres born out of modular synthesis and field recording. Rooted in the inspiration drawn from the natural beauty of his native Switzerland, Morphing Territories embarks on a boundless quest to perfect the beat. The label reflects this journey through tireless improvisation and introspective self-discovery, resulting in finely sculpted sound constructs that defy the conventional boundaries of both complexity and simplicity. Morphing Territories Label stands as a testament to the artist’s commitment to pushing the boundaries of sonic exploration, inviting listeners to join him on an extraordinary sonic expedition.

ONO Records is proud to present a long awaited project from EDN, the recording project of Elena Nees. Hailing from Adelaide / Kaurna, Elena has crafted her sound in the form of sweet bedroom folk and pop, self releasing a number of tender EPs since 2020 along with releasing a fantastic six track cassette with the esteemed Naarm based cassette label Healthy Tapes under her Allume alias. Here, the EDN moniker takes these folk pop sensibilities and filters them through a love for electronic hardware production and music.

The record begins with the end-of-the-night dancefloor ballad ‘A Mirror’. Jittering and agitated drum programing makes way for EDN’s feather-weight vocals, cleverly manipulated over bubbling synths as the track melts into a bonafide braindance-pop anthem. ‘(Blue!) Flor’ keeps the tempo rising, breaking out into a funked drum machine jam allowing pearlescent pads to intermittently wash over. The thumping ‘Ummmm’ continues the jam ending the first side with an urgent techno-not-techno freak out.

Side B opens with the crystalline fourth world ambience of ‘Mess 1’ before EDN’s angelic antipodean twang takes the spotlight again on the gorgeous and introspective ‘2 Bored Angels’. Interluding briefly with the trip-hop induced breakbeat experiments of ‘Slo’, ‘Mirror Fuck’ bookends the record perfectly with glistening keys and EDN’s soulful vocals singing of longing and desire. An excellent closer. 

EDN gives us a triumphant and utterly unique record that unveils itself more and more with each listen and highlights her immense and diverse talent. One we are proud to include in the ONO catalogue!

Written & Produced by Elena Nees
Artwork by Mathieu Larone & Grace Otto
Mastering by Marco Pellegrino

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

One year after their Rock'n Folk (Fr) and Maximum Rock'n Roll (USA) acclaimed debut single, Paris based punk band Cheap Riot is returning with their first long player.

Sharping their new songs while heavily touring in mainland Europe, sharing the bill with bands like Hinds or Cosmonauts, Cheap Riot recorded this first album in a week with French analog wizard Lo' Spider. If the band will certainly not play at your prom, Ballroom Portrait is showing us red-hot catchy songs, remembering us class of '77. As any good punk record should be, Ballroom Portraits is heavily political, sarcastic and raging, but they never forget to bring up the melodies during the rampage.

In our opinion, Riot is still the best way to solve problems, especially when it's a Cheap Riot.

For fans of : Television Personnalities, The Undertones, The Clash, Nerves, Dogs

Bassline technicality and production prowess by Fader Cap on his return to Craigie Knowes. 4 tracks that combine club-sensibilities with width and melody to transcend dancefloors to the outer realms. Echo Chamber provides DJs with a mix of club-focussed beats for all times of the night, strap in.

ALWAYS + FOREVER is the first compilation to be released on Do You Have Peace? collecting unreleased tracks from both new and existing artists on the label. Featuring Time Cow, YL Hooi, Teresa Winter, Jonnine, Guest, Static Cleaner Lost Reward, Hermeneia, Zaumne, Birthmark, Silzedrek, Laughter of Saints, Vessel & Rakhi Singh. Originally imagined as a project to link together the dream pop related leanings of a disparate group of artists, as the project grew it became more amorphous but still kept a strange and half awake quality throughout. The pop leanings are still there, although often buried under slabs of reverb, but there are also less heavy lidded bedroom confessionals, as well as DIY chamber pieces and teary eyed instrumental passages. Most of the vocal-led tracks are in the first half of the album, leaving the second section to drift fully into hypnagogic sedative territory. Where vocals do come in they are more like half remembered fragments of dream speech than any kind of traditional narrative. The voices eventually leave us completely, drifting through 3 chamber pieces, reclaiming the classical arrangements of strings / piano / etc from the lofty heights of concert halls and scores to something more intimate and familiar, a box room in a flat, or a bedroom, a memory of lying awake staring at the ceiling and trying to go to sleep again.

Giorgio Records teams up with Bordello A Parigi for the reissue of this beautiful italo disco tearjerker, originally released in 1984 in very limited quantities. Straight from the original master tapes provided by the maestro himself; Rodolfo Grieco.

ITALIAN LIBRARY GEM RE-IMAGINED BY BEATMAKER KORALLE AND RAPPER ILLA J

Four Flies is proud to present a new installment in the RELOVED series, 'New Levels / Chartreuse', with an original track from late-70s Italian ensemble Modern Sound Quartet and a rework from producer and beatmaker Koralle featuring iconic rapper Illa J.

In keeping with the aim of the series, which is to put a modern and urban spin on tunes from Italian golden age soundtracks and library music, Koralle has used the unique jazz-funk sound of the original sample to create a smooth and stylish hip-hop beat to which Illa J adds irresistible swag and coolness. More than a remix, 'New Levels' is a new composition that takes 'Chartreuse' into the world of contemporary hip-hop and rap.

Lorenzo Nada, aka Koralle, is a musician, beatmaker and producer from Bologna, Italy. Nada is best known for his project Godblesscomputers, which kicked off a couple of years ago while he was living in Berlin. After releasing four albums/EPs and touring Europe with a four-piece band, Nada is heading into a new direction as Koralle. Firmly rooted in hip-hop, Koralle is taking his jazz crates and field recordings to the studio. Equipped with an array of synths, Rhodes and bass, he creates deeply textured tracks that touch mind, body and soul. "Each beat is like an object found at the bottom of the sea," says Koralle to describe his music. And adds: "The samples emerge from the depths of my record collection and find a new meaning, transformed, like corals from the bottom of the ocean."

Rapping on Koralle's beat is Detroit artist Illa J. Raised in a musical family (his father played piano, his mother sang, and his older brother is the late hip-hop producer J Dilla), he grew up surrounded by jazz, gospel and soul, before building a name for himself as a rapper with a distinctive flow and timbre, but also as a singer and songwriter. Illa J has said of his approach to lyric writing that "the melody comes first, then I bring the words in, even when I'm rapping, you know rhythmically. I'm a singer, so melody comes first, but in terms of the subject matter, the music tells you."

The Modern Sound Quartet was an ensemble led by Milanese pianist and composer Oscar Rocchi. It included Rocchi on keys, Andrea Surdi on drums, Ernesto Verardi on guitars, and Luigi Cappellotto on bass. 'Chartreuse' (written by Cappellotto) comes from their 1976 library LP Cocktail Bar – a collection of jazz-funk/jazz-rock/fusion tunes, each named after a famous spirit. While little known to the general public, Cocktail Bar is highly sought after by diggers, DJs and beatmakers.

'New Levels / Chartreuse' is the fifth release in the RELOVED series, following Jolly Mare's retouch of Piero Umiliani's 'Discomania' (12"), Free The Robots' rework Gianni Safred's 'Autumn 2001' (7"), Dengue Dengue Dengue's remix of Giuliano Sorgini's 'Oasi Nella Giungla' (7"), and Fratelli Malibu's reversioning of Alessandro Alessandroni's 'Tema di Susie' (12"). The 7" releases are co-curated by fellow independent label Little Beat More.

Adam Pit’s Grounded EP sees the space•lab favourite exploring deeper, techno-inspired terrains. Opening track, ‘Schtoopbloop’ traces mystical synth lines and expansive vocals, underpinned by a satisfyingly substantial, driving baseline. Track two, ‘Tiptoe’, enters Pits’ iconic breaksy palette - equal parts dreamy and slick, this is the wipeout soundtrack for the next century. On the flipside, Konduku dips his toe into remix duties, offering up a shimmering, spiralling rework of the original. Finally, closing up the release, title track ‘Grounded’ growls into view, rising from sub-heavy foundations into dubby, treacle-speed sounds.

ESP Institute artist Bartellow, one third of the project Tambien and otherwise known in the Contemporary Classical sphere as Beni Brachtel, returns to the label with his second full-length release, Noosphere. While currently heading the SVS label and residency series out of Munich, Beni’s resume expands well beyond electronic music to include immersive sound installations such as The Adven- ture Of The Empty House (solo live performance across seven floors of Walter Henn’s Deckelbau building), a slew of compositions for the Bavarian State Opera (for which he doubled as conductor), and a prolific career of over twenty-five theater scores for institutions such as the Münchner Kammerspiele, Schauspiel Basel, Maxim Gorki Theater Berlin, Berliner Ensemble, Schauspiel Köln, Schaus- piel Graz and with directors Ersan Mondtag, Alexander Eisenach, Jessica Glause and Tobias Staab among others.

Noosphere is a compendium excerpting from theatrical scores WUT (Elfriede Jelinek, at Schauspielhaus Köln, directed by Ersan Mondtag, 2020), Ödipus and Antigone (Maxim Gorki Theatre Berlin, directed by Ersan Mondtag, 2017), Der Zauberberg (Thomas Mann, Schauspiel Graz, directed by Alexander Eisenach, 2017), Hass Tryptichon (Sybille Berg, Wiener Festwochen / Maxim Gorki Theatre, directed by Ersan Mondtag, 2019), Wonderland Ave. (Sibylle Berg, Schauspielhaus Köln, directed by Ersan Mondtag, 2018), Die Verdammten (after Visconti ́s film, Schauspielhaus Köln, directed by Ersan Mondtag, 2019) and Roi Ubu (Alfred Jarry, Theater Neumarkt, Zurich, directed by Alexander Eisenach, 2018).

The work traverses homages, infusing everything from Baroque to Impressionism, and while these types of references are certainly built into the canon of Theatre as a discipline, here we gather histor- ic layers in an even wider net. Under the self-referential thumb of Contemporary Classical music, this sort of "hindsight" approach has been largely avoided, however, in today’s all-access arena, the constant stream of historic causal-chained events has opened a delta where anything is possible. This defines Bartellow’s stance among his colleagues as well as his cultural position as a composer.

Beni considers beauty a fleeting objective in the arts, that expression is often expected to follow notions of Destructivism or the unfulfilled. Art will pore over wounds, collective angst, mourn- ing a loss of natural habitat or a fear of technological invasion, yet there is a bitter irreverence for the friction or salvation in beauty itself. Acknowledging this subjectivity — what one audience considers superficial pleasure may be deeply profound to another — he leans into musical instinct as if composing via divine conduit.

Noosphere conjures a array of suspense, ecstasy, melancholy, and dread, but in isolating the work from its theatrical component, Brachtel directs our focus toward formal qualities, clearing unim- peded space to conceive fresh narratives and examine dynamism and interconnectivity. In sympathy with often difficult theatre pieces, the passages can be dark and transgressive, but more importantly they remain relative to Brachtel’s circumstances at their time of creation. The title Noosphere speaks to the evolution of human thought and knowledge, opening a door to subjective points-of-view. For example, Nexus II On The Beach refers to both Roberto Musci’s Water Messages On Desert Sand as well as the film Bladerunner, invoking the image of an android enjoying the sunset, but whether or not this abstraction may be considered beautiful depends the listener’s cumulative life experience and perspective.

This is hybrid chamber music, augmented by electro-acoustic layers, juxtaposing various periods and successively processing their residual themes into a trans-generational rendering of “now.”

As the BBE Music J Jazz Masterclass Series hits its 19th title, the milestone is suitably matched by a collaboration between two giants of jazz brought together to deliver an exceptional album, working with a band of the very best Japanese jazz musicians. ‘Reminicent Suite’ by American pianist Mal Waldron and Japanese trumpeter Terumasa Hino was originally released in 1973 on the famed Victor label and was one of several Japan-only albums recorded and released by Waldron over a thirty-year period, most of which have never been available outside Japan. ‘Reminicent Suite’ comprises two extended tracks, both taking up a side each. The title track on Side A is composed by Waldron, and is a dark, brooding heavy groove typical of his early 70s sound. ‘Black Forest’ on side B is written by Hino and is a vivid and energetic piece, layered and textured with dense percussion and Hino’s signature trumpet tone. Mal Waldron started out in the early 1950s working extensively on the Prestige label with notable figures such as Gene Ammons, Jackie McLean and Charles Mingus. Most famously, he worked with Billie Holiday before leaving the States in the mid-60s and relocating to Europe where he established himself as a major figure working across many countries including France, Italy, and Germany, where he made his home in Munich. In 1969, Waldron recorded the first releases for two major European jazz labels, ECM and Enja, before visiting Japan on tour for the first time in 1970. Waldron instantly fell in love with Japan and, over the next three decades, extensively toured and recorded there for numerous labels. Terumasa Hino is one of the towering figures of post-war modern jazz in Japan. Coming to prominence via the Hideto Shiraki and Sadao Watanabe bands in the mid-60s, Hino soon emerged as one of the prime movers in new jazz generation that changed the direction of jazz in Japan. He explored a more open, freer, and improvised sound, mixing psychedelic and rock elements with freeform and post-bop jazz. Hino recorded for many of the leading jazz labels of the era including Columbia, Three Blind Mice, and East Wind and would go on to relocate to the US in the mid-70s, immersing himself with the leading fusion players of the New York scene including Larry Corryell, Mtume, Al Foster, Dave Liebman and many more. In the early 80s, Hino’s jazz funk tracks were dancefloor smashes on the UK jazz dance scene. Joining Waldron and Hino on ‘Reminicient Suite’ is a band made up of the very best Japanese jazzman of their day: Takeo Uematsu on sax, Terumasa’s brother, Motohiko Hino, on drums, and the legendary bass master, Isao Suzuki. Together, they deliver one of the very best albums of the era, a richly articulated and dynamic session that exemplifies the very best that the Japanese jazz scene was doing in the early 1970s. ‘Reminicent Suite’ is pressed on 200g vinyl presented in a gatefold sleeve plus obi strip, with new photos by Tadayuki Naito; translated original sleeve notes; and a 7500-word essay including interview with Terumasa Hino from Tony Higgins, co-curator of the J Jazz Masterclass Series. This is the first time this album has been available outside of Japan

In the ever-evolving landscape of hip-hop, Divine ScienZe emerges with their third album, Divine ScienZe 3, a testament to their unwavering dedication to pushing boundaries and crafting music that is as refreshing as it is organic. As a dynamic duo, Divine ScienZe has consistently strived to redefine their sound, and this album stands as a brilliant showcase of their musical evolution. With this release, Divine ScienZe boldly ventures beyond the traditional boom bap approach, seamlessly merging the contemporary essence of hip-hop with their signature classic sound. The result is an auditory journey that transcends time, capturing the essence of both past and present in a harmonious union. Each track on the album is a testament to the duo's growth and innovation, offering listeners a transformative experience with every press of the play button. At its core, this album is a fusion of diverse elements, meticulously crafted to deliver a multifaceted sonic experience. Divine ScienZe masterfully weaves storytelling, hard-hitting bangers, and lush, soulful vibes into every track. The storytelling invites listeners to delve deep into the narratives, while the bangers ignite an irresistible energy, compelling even the most reserved to move to the rhythm. The lush vibes provide a tranquil oasis within the album, offering moments of reflection and introspection. Divine ScienZe 3 is more than just a collection of songs; it's a testament to the duo's artistic evolution and their unyielding commitment to creating timeless music. With every note, rhyme, and rhythm, Divine ScienZe proves that growth is not just inevitable but essential in the world of hip-hop. This release is destined to become an instant classic, a testament to Divine ScienZe's enduring legacy in the genre, and a must-listen for anyone seeking a musical journey that is both refreshing and profoundly authentic

A compilation of rare spiritual jazz and funk grooves culled from the archives of producer Bob Shad's Mainstream Records. Alice Clark's cult classic Never Did I Stop Loving You' features here alongside many gems uncovered for the first time.
Bob Shad worked with titans such as Charlie Parker and Lightnin' Hopkins in the 40s, founded the EmArcy jazz label in the 50s, and discovered Janis Joplin in the 60s, and started the Mainstream label in 1964.

From Afrique's classic House of the Rising Funk' and its funky wah wah frenzy, to Hadley Caliman's deep jazz Flute ode, From one of Clark Terry's famous Mumbles (Shad produced the original with Oscar Peterson) to Jack Wilkins' Red Clay' sampled by both A Tribe Called Quest and Chance the Rapper. A Soul Music lover, Shad also excelled in soul divas and produced Ellerine Harding, Maxine Weldon and of course the mighty Alice Clark. Carmen McRae, one of Shad's long time collaborators, gives a soulful, conga-led version of the classic Feelin' Good, originally made famous by Nina Simone