Поиск:tell me

Welcome to Soul4Real’s second album, a collection of originally unreleased tracks which feature a whole host of soul royalty.

First off are two songs from the inimitable Bobby Bland, both of which hail from his prolific period at Duke Records.

Sandwiched between two stunning Chicago recordings by Etta James is the later “I Never Meant To Love Him”, taken from a Philly session she recorded with Bobby Martin.

Fontella Bass brings this side to a close with a mysterious Chicago recording of which, to this day, hardly anything is known.

Side two transports us to Detroit, when Motown was at the peak of its output. 1966 was not a good year to secure the approval of quality control, as proven in the rejection of this wonderful Velvelettes´ version of “Your Heart Belongs To Me”.

It was in that same year that Ashford and Simpson arrived at Hitsville as both singers and songwriters. Their “Love Woke Me Up This Morning” was recorded by Brenda Holloway and produced by Norman Whitfield. Despite being overlooked at the time, its appeal was undeniable, and it later resurfaced on albums by Marvin & Tammi, Valerie Simpson, and the Temptations.

As an integral member of the Motown family for over 14 years, it is surprising that to date only three songs recorded by Johnny Bristol have surfaced. In collaboration with ‘Mickey’ Stevenson “Tell Me How To Forget A True Love” was completed in May 1964.

“One Lucky Day I Found You” was inexplicably not included in the ‘David’ project. Ruffin´s later work with Van McCoy is also featured on this album.

From almost the start of his career, Marvin Gaye had endeavored to project himself as a great balladeer, and nothing could illustrate this better than his rendition of “I Wish I Didn’t Love You So”, which brings this chapter to a perfect end.

Finally, our debut album is out. It is based on a well-calibrated selection of tracks chosen from intense live performances since our project's inception in 2018.

Dream Dome is a small window in our studio that looks out into the sky - a symbol of the musical vision of two opposites whose style and DAWless music-making skills have created 13 tracks, carefully calibrated by us on the dance floor.

Dream Dome is a blend of musical styles closest to leftfield house and techno. It is characterized by warm analog timbres, polyrhythmic structures, and the self-expression of our individuals.

Dream Dome is available on limited 180g vinyl with 8 tracks + download code for full extended 13 tracks.

Made in Valencia with love.

Très toxique is the first ever recording of Un Drame Musical Instantané as a trio, three weeks before Trop d’Adrénaline Nuit, but already a year and a half after Défense De by Birgé Gorgé Shiroc (Nurse With Wound List). On December 21, 1976, it was the first time the three musicians met together in the basement of Studio GRRR. They had no idea what they were going to play, but the session was full of energy. Jean-Jacques Birgé plays the ARP 2600 synthesizer, the cassettes and many other instruments, as does Bernard Vitet, mainly on percussion, but also on sax and violin, while Francis Gorgé supports the backbone on electric guitar. Half a century has passed. Birgé creates the cover of Très toxique entirely by hand, using a white pencil and two acid-burnt images he had created in 1969 and printed two years later by the art printer of Picasso, Dubuffet and the Collège de Pataphysique. The 85 numbered and signed copies of this limited edition have only one side of 19 minutes, already a collector! But can anyone tell me what this music sounds like?

Bingo Club demands no rules for entry. Everyone knows your name. The hours are endless and the dress code remains
unspoken.
Martin Rousselot opened the doors to the Bingo Club at the dawn of the 2020's. Joined by Neysa Barnett, Vassili
Yatchinovsky, Marie-Paule Bargès and Emile Larroche, Bingo Club puts down its signature sound-stamp and juggles with
styles of different kinds; if five songs throb to the clank-clank of New York trains, five more drift lazily like Marseille's sailspotted waves.
Group signifiers and visual tropes are reduced to a molten wash of melodies and images that, whether heard or seen, unite
kindred spirits.
Whether as a duo or as a soloist, in English or in French, a warm mix of soothing voices is blanketed by soft rock
instrumentation. The videos are filmed with an analogue camera across the four corners of the globe.
A first EP, "Separated," released in 2020, sees a collaboration with Al Carson (Weyes Blood, Ariel Pink, Jessica Pratt...). In
2021 the single "Someday," featuring Annie Lime & Jonas San, comes out. In 2022, Bingo Club presents its debut album «
Better Lucky Than Beautiful », produced and mixed in Paris at Studio CBE by David Mestre (Sebastien Tellier, Chassol, ...).
The album is a collection of ten songs, written in different times and places, like a musical travel diary or sound-postcards.

Vincentiulian is the kind of name that needs no introduction. He is one of the best-known DJs and producers from the famous Romanian scene, and his evolution throughout the years tells its own story. He has played alongside the biggest names in the industry, shared the decks with household DJs like Priku, Rhadoo, or Cezar, and played the most important festivals out there.

His Subbass EP on Vivus Records cements his aura even more as a wonderful producer.

The opening track, Works, kicks things off wonderfully and subtly. It’s certainly a perfect track for the warm-up moments in the club, but its intricate background noises add a lovely layer of complexity as the track goes on.

Then we head off in a different direction: At Chalet is a much stronger track with an imposing bassline that dominates the sound and perfectly complements the mysterious vocals.

The titular track, Subbass, has a natural futuristic vibe and feels like a
ready-made club banger. The spacey atmosphere is something that only adds charm to it. The Tobias Laun Remix is a more chill but equally powerful way to end this mesmerizing EP, with Tobias showing his prowess at adjusting the pace just at the right rhythm for the dancefloor. The strong bass complements superbly with the sublime background noises to make this the perfect last chapter.

Asphalt Records second output is a forward thinking, hardcore continuum friendly take on the grittier side of industrial techno from Birmingham by the neighbourhood's new pestilent squathouse residents NeonDemon. This EP has its roots buried deep in seamless concrete foundations scaffolded by Mick Harris, via Surgeon & Regis inspired techno half-times, while pushing tech-step’s most asphyxiating soundscapes to sheer schizophrenia (i.e Guided by Whispers). The grime influxed club architectures (Pattern Down), the weightless demonic punk industrial attitude reminiscent of Throbbing Gristle (Pentastar) and the dark humor embedded in this 12’ (Pandeirada de Tella Remix) make Stains EP the perfect soundtrack for today’s apocalyptic contemporary events. Mastered as usual by Jason Goz at Transition, pressed in thick asphaltic 180g and wrapped in our usual pavement-black outer sleeve.

George Palmer is a young artist from the DUB and sound system scene where he quickly stood out thanks to these stage appearances. It was with the international label Irie Ites Records that he wanted to collaborate in order to produce his first album.

Entitled "Working Man" this opus is composed of 10 titles including 2 combinations with LION D, famous international singer based in Italy and SOLO BANTON, famous English singer and toaster who needs no introduction.

The instrumentals are composed by big names of the genre: Sly & Robbie (Jamaica), Jammy's (Jamaica), Naram (New Zealand), Med Tone (Israel), Irie Ites (France) giving this project a great scope.

After the release of 6 music videos from the album and the physical (CD) and digital release at the end of June 2022, the project will soon be released on LP due to strong demand from its fans. In addition, this summer you were able to find George Palmer alongside Irie Ites Sound for fiery stage performances at various European festivals.

To accompany the release of the LP, several clips will be released and a new tour is in preparation.

Through a musical collaboration between Italian musician Samuele Strufaldi and the villagers of Gohouo-Zagna in the Ivory Coast, a new album called Davorio released on Música Macondo Records, will raise money for a new community library and space in the village.

Davorio is the joint efforts of Samuele Strufaldi, and the Guéré musicians of Gohouo-Zagna, located in the Ivory Coast’s Guemon region. The record is a cross-cultural-conversation that tells the villagers’ stories through a modern musical language; one that blends together Guéré music, jazz, and electronica. More than just a record, Davorio is a story about the villagers of Gohouo-Zagna, with their lives, traditions, and cultures animated across the album’s 16-tracks. The profits from the vinyl and digital music streams of the project and the money raised from a Go Fund Me fundraising page, will be used to help construct a library for the villagers, that will provide them with the infrastructure to help further their culture and storytelling for years to come.

Gjidoda Music is a label produced by Gjidoda Music crew

Our label is dedicated to pushing the boundaries of artistic expression and promoting innovative and unique content. We believe that music, photography, and design are powerful mediums for conveying emotion and telling stories, and we strive to showcase the very best in these fields.

Together, these three pillars - unique music, modern photography, and minimalist design - form the foundation of our label and guide everything we do.

From New Jersey via The Netherlands: longstanding US craftsman Joey Anderson makes his debut on Deeptrax with his inspiring new album… ‘Exotic Sequence’

His fourth LP to date, ‘Exotic Sequence’ is a fully instrumental deep dive into both Joey’s machines and mindset, as he explains himself… “The title ‘Exotic Sequence’ stood out to me because throughout the LP I tended to use a sequencer for the main melody of most of the tracks. Almost every time I approach a track with techno intentions it eventually ends up being deep / housey,” states the artist who broke through 15 years ago on Qu’s Strength Music and has worked closely with the likes of Dekmantel and, more recently, Avenue 66.

Now at home on the relatively new and positively thriving label arm of Dutch record store institution Deeptrax, Joey tells us where he’s at with a body of work that poignantly reminds us that it’s not the destination that counts; it’s the journey we endure to get there.

In this sense, ‘Exotic Sequence’ is the sound of Joey letting his instruments guide, inform and inspire him. Cuts like the constantly rising and hopeful ‘Sky Children’, the deep 808 bubbles and dreamy reflections of ‘Behind The Valley’ and the emotionally rich ‘Stop’ are just a handful of examples of Joey being lost in deep flow, channeling the creative energy in his studio.

It lands exactly three years after his last album ‘Rainbow Doll’, neatly bookending the strangest and most surreal start to any decade we’ve lived through since house and techno culture took root in the 80s. A timeless document that looks forward and back and remains unhurried, thoughtful and crafted with longevity, ‘Exotic Sequence’ is arguably the most honest and frank side to Joey Anderson we’ve heard in his extensive career so far.

ENARCHY is the debut album by Leipzig-based producer and singer Maria die Ruhe. It is the result of a deep and thorough look the
artist took into both her own inner workings and the world around her. In 14 tracks, she explores different types of energy,
oscillating between head and heart. Final destination of this sometimes painful process of self- exploration is the embodiment of
her own power and creativity; the realization, that she manifests her role as catalyst, healer, and fighter for freedom and equality
by reporting on her experiences. These songs are about nothing less than that. And you can also dance to them.
In a musical sense, Maria surpasses herself compared to previous releases. She is bolder, more explorative and dissolves genre
boundaries. Acoustic instruments like the cello and the piano unite playfully with electronic beats. Her expressive voice speaks and
sings from the lowest lows to the loftiest heights. Her self-disclosing lyrics communicate the deepest messages of the soul. One can
tell right away: something is at stake here, this is about a real human living through something real, and now reporting from the
front lines of the human experience.
With lines like „Things are changing all the fucking time“ (ENARCHY) she posts a reminder for the current zeitgeist and the resulting
global uncertainty. „Some things need to be destroyed before they can heal“ is a demand for openness towards change, even if it is
challenging, requires energy, and leaves behind some scars.
In ART IS THE ONLY REAL TRANSLATION OF LIVING FOR ME, Maria uses sentences like „I’ve been trying to please you, I got headaches
and I still don’t fit“ to express her desperation with existing structures of injustice and the lack of livability of the artist lifestyle.
„Ah, you’re an artist - and what do you do professionally?“ Everyone loves music and art! When, o when, will the understanding
follow that there need to be people who make this art as a central part of their lives?
Frustration takes turns with hope and a growing acceptance of the self. In EQUALISTA, Maria discusses antiquated conditions like the
inequality between the sexes in a kind of manifesto, with a simple proposal for solution: „Let’s both be selfish and raise our
energies, to create a whole world with all the things we need.“
In WE BELONG TO NEVER, Maria sings about the everyday horror of toxic relationships. Lines like „Disengagement and rage, I’ve become such a slave.“ express the despair of the emptiness that results from a lack of affection. She also describes treacherous
narcissistic manipulation: „You cut me small just to feel tall.“
In SKIN, she confesses: „I’m not as enough as everyone else.“ and describes the long and painful way from rejecting her own body
to loving herself unconditionally. „I hate what I feel, while I pretend to be free“ means she doesn’t want to be reduced down to
her body, doesn’t want to be seen as an instagrammable, thoroughly designed product; she wants to be acknowledged as an
individual.
In LOST, she poses a question that many are currently forced to ask themselves: „What do we do with all this solitude?“ Maybe
making use of the reclusion by exploring the shadow self. „Can you cope with the truth?“
The conclusion: energy is being freed up through the means of self-experience and living through the personal darkness -
ENARCHY. The realization: every human being is self-determined and should simply do what they feel. It is everyone’s right to
choose their own life’s path. Here, intuition serves as a signpost. This is both feminine and strong.
ENARCHY celebrates an embodied anarchy by working through the personal shadow and the genuine, healthy integration of the
struggle survived - not as a destructive rebellion, but as a testament of shameless, joyful self-empowerment.
„In the end, I want to be alive, because in reality, I’m free.“

There are two versions - 180g black vinyl and color vinyl version - limited to 100 copies and each vinyl has a different color. All versions has booklet inside with the special artwork dedicated to each track from teh album.

Things don't always go your way, especially when your plans involve space travel. In the case of Captain Harrison Focus's expedition, it started innocently, but no one was prepared for an emergency landing on the mysterious planet Carmin. Only then did the real fight for survival begin. This record tells the story of a dangerous expedition into space that began on February 6, 2023.

Twoosty Mayonez consists of Bartosz Wolert (drums) and Dominik Kaniewski (bass guitar and synthesizers). "Carmin" is their debut album, which is released primarily on vinyl by U Know Me Records.

Mal-One’s seventh single sets out to tell the listener in 3 minutes and 21 seconds, everything that it is not. But in doing so by default or design, becomes everything it says it is not!!!

So here it is for your listening pleasure. The non-Punk, Punk single. As Mal-One is asked at the end of the song what this song is all about…seems he runs out of time….
Hope you enjoy the illusion…..

Let me tell you what these songs all about…

This is not a song about Young Parisians
This is not a song about an Outside View
Ripping Her to Shreds, Hong Kong Garden
One Chord Wonders or a Freak Show

This is not a song about Complete Control
This is not a song about Less Than Zero
New Rose, Defiant Pose
Sex & Drugs & Rock & Roll

This is not a song about the Blitzkrieg Bop
This not a song about Top of the Pops
God Save the Queen, Something Better Change
I’ve Got a Right or Life’s A Gamble

This is not a song about London Girls
This not a song about Identity
An Alternative Ulster, Baby Does Good Sculptures
Or Everybody being Happy NowaDays

Hey Mal-One…..Yeah
So what’s this song about ?
Do you really want to know ?
Yeah well let me tell ya

An aura of mystery is hidden on this magnificent album released on EMI Nigeria in 1974 and today a collector’s cult object was the only one named Moonrakers Band.

Steve Black tells: “We were the original members of The Moonrakers and were based in Zaria, then in 1972 we left band management and started The Elcados. The original management of The Moonrakers sold the name to his elder brother who had a club in Kano and they brought Prince Bola Agbana to get other musicians to continue The Moonrakers while we moved in as The Elcados.”

Moonrakers Band and Elcados were the two bands that inflamed northern Nigeria in the early 70s with a more rocking and virtuoso sound, and especially with tons of rare grooves, then everything else around it.

Coming to the album content tracks like Wait For Me, Cut Your Coat According To You Size, Yara Manyan Gobe, but also Enia Sa Pele and Move on, will make floating camels appear on the dancefloor, or in your house.

Culture is the Jamaican roots reggae group who founded in 1976. The trio was led by Joseph Hill and also featured Kenneth Dayes and Albert Walker. Not long after releasing their classic debut album Two Sevens Clash, a dub version followed. This version having the tunes produced by Jamaica’s first female producers Sonia Pottinger and reworked by no less than Errol Brown. This dub-version, titled Culture Dub, was originally released on HighNote Records and consisted of cool, chilled tunes

Culture Dub is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

''Fact & Fiction" The second Tranquil Eyes album delivers poignant & exciting synthwave songs. Drenched in an eternal 80s feel, well crafted & complete.Tranquil Eyes is a Dutch minimal synth band formed in 1982. Lex Grauwen and Paul Oosterbaan had worked together for about 8 years before they formed the band. They decided to turn their back to stage performances and started experimenting with home-taping. Using an array of electronics, they recorded a great amount of songs and made a fine selection on Walks. Their first and only release. Today, after digging into the archives, a lot of restoring, recording & re-mastering, there�s Fact & Fiction. The album is an extension to the Walks album both in genre and in spirit. Comprising a selection of lost tracks, compilation only releases, unreleased songs and even two newly recorded songs, Fact & Fiction gives a great view on the bands musical abilities & influences over the years.

If you like dance music with a left-field approach, then have a listen to this! After 3 years Nick Hanzo comes back on Fortunea Records with a brand-new EP. In this 5 track package he shows you his ‚Candy Places’ with multi-variant flamboyancy.

Starting off with ‚Parallel Universe‘. A sub-bass heavy breaks-tune that dives into a pool of reversed strings, eerie pads and melancholic singing. The journey continues then to the planet ‚Saturn Nate‘. Its surface is a lo-fi funk groove, which carries over smoothly to ‚Spark Light Year‘.

With a little bit more pressure the B-side hits you in the face with ‚Like Glass But Candy‘. A very effective techno-house hybrid that will bring joy on everyones dancefloor. And for the final Nick will tell you ‚A Berry Tale‘ with his monosynthesizers.

Helsinki quartet OK:KO releases their third album "Liesu" with We Jazz Records on 15 April. The band, led by drummer/composer Okko Saastamoinen and including saxophonist Jarno Tikka, pianist Toomas Keski-Säntti and bassist Mikael Saastamoinen (of Superpostion & Linda Fredriksson "Juniper") is a scene favourite in Finland and has recently garnered some international attention with their melodic, dynamic and original approach. The OK:KO sound is adventurous yet accessible, and contemporary yet rooted in the lineage of acoustic small group jazz.

When listening to OK:KO, you can feel that their influences also come from out of the musical realm. After all, isn't this just how it should be? Making music from your own life. Here, you can tell that the landscape of rural Finland, its poetic, at times even melancholy beauty, is ever present. It's folk song country. But don't be fooled, these guys form a real flesh and blood jazz band. That means that the music just starts when the first note hits, and onwards from there, we're in for a wild ride.

Whether punchy like on "Anima", solemn like on "Arvo", or just trekking out there a skiing lane of their own like on "Vanhatie", what you'll get is pure OK:KO. Melodic, interactive, honest and forward-reaching contemporary jazz music. That is something we appreciate – a lot!

Vinyl editions available on opaque white / black vinyl, with inside-out 3mm spine sleeve and a polylined black inner sleeve.

It might seem tongue-in-cheek on the surface, but the fact that the title of Eldritch Priest's sprawling debut vinyl release, Omphaloskepsis, is the Greek translation for “navel-gazing” unlocks something essential to the Vancouver-based composer and writer's singular outlook.

Perhaps even more telling is the title of Priest's 2013 book Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (Bloomsbury), whose 300-odd pages read as though you've been dosed with potent hallucinogens. Throughout the text Priest addresses—celebrates, even—the titular elements via various musical examples, including that of his peers. What's so bewildering it is that his descriptions of how boredom, formlessness, and nonsense manifest are laced with the very tactics he's depicting. Passages tie themselves in knots, footnotes engulf the “primary text,” he even deliberately misleads the reader.

The restless stasis of Omphaloskepsis could be regarded as an extension of this book's wayward spirit. Things unfold fairly slowly and consistently but it'd be a stretch to describe it as properly contemplative. Like attempting to meditate with a high fever, any sense of tranquility is constantly derailed as one succumbs to queasy agitation. The piece's foundation is a seemingly endless guitar melody; an organic meander that neither seems to repeat or offer any concessions to narrative directionality. Priest unfurls this rambling cantus firmus in a rich, clean, jazz-like tone, but as it's played, it's repeatedly tangled with snarls of dense digital processing and shadowed by stumbling virtual “band.” These strident interjections blatantly contrast with the guitar, yet they aren't so violent as to offer more than a faint itch of distraction. As such, the distinctive amorphousness that this piece asks us to inhabit for its 54-minute duration leaves a strong impression, but also feels utterly intangible.

In addition to his recorded forays, Priest's disorienting music has also been performed by top-tier interpreters such as the Arditti Quartet, Quatuor Bozzini, Philip Thomas, Anton Lukoszevieze, and Continuum. While living in Toronto he co-founded the collective neither/nor with John Mark Sherlock, which featured a cross section of musician-composers playing each other's work including Eric Chenaux, Doug Tielli, Eric KM Clark, Heather Roche, and Rob Clutton. “Though the name refers specifically to a loosely knit group of composers and performers,” remark's the collective's website “neither/nor is also a sensibility that refuses art’s messianic pretensions and the gaping maw of commercialized society, opting instead for art’s right to be esoteric.” In 2021, when Eric Chenaux and Martin Arnold relaunched their neither/nor-adjacent Rat-drifting imprint, an album by Priest, Many Traceries, was among the first to be released. Perhaps unsurprisingly, Priest was a student at the University of Victoria, a school that's come to be known for fostering such staunch individualists as Arnold, Linda Catlin Smith, Allison Cameron, and Anna Höstman.

As a scholar, Priest writes from a 'pataphysical perspective and deals with topics such as sonic culture, experimental aesthetics and the philosophy of experience. Priest brings these interests to his job as an Associate Professor in the School for the Contemporary Arts at Simon Fraser University, interests that also inform his work as a member the experimental theory group The Occulture. In addition to Omphaloskepsis, his new book, Earworm and Event: Music, Daydreams and Other Imaginary Refrains,

The third release of , which will be released on vinyl with the theme of ancient and modern east and west ~ Nihon no Uta ~, is blindness caused by an illness that he had when he was a child, he met Tsugaru shamisen in a poor and difficult life.

Chikuzan Takahashi, a master of the Tsugaru shamisen, has raised Japanese folk songs to the level of art that has been praised around the world. The recorded song is "Iwaki Impromptu".
Several versions are also recorded in the album work, and there are different arrangements only for improvisational songs, but this time Held from 1973 to 2011 at "Maruyama Park Concert Hall" in Kyoto City to coincide with the Gion Festival in Kyoto
It is a sound source when he appeared in "Yoiyoyama Concert". A thick string that tells the beginning, like slamming Overwhelming power that tightens the chest even though it is not a drumstick, like an orchestra that does not seem to be a single performance
Spread of sound, free development of sound. A shamisen player named Chikuzan Takahashi who completely deviated from the frame of so-called standard folk songs It seems that the expression of is involved in the audience at the scene without even seeing it.

Mr. Takeyama describes this song as "a song where you don't know where it started, where it started, and where it ended." It's just an impromptu song, something that you listen to with subtle changes in sound and complex rhythms while making various changes. It is a masterpiece full of dynamism that you can grab until the end.

Bill Laswell, who is active as a world-class bassist, reconstructed the original sound source this time. He has a deep knowledge of ethnic sound sources, and his arrangement is "Mix-translation" instead of "Remix". Is used. While making the best use of Mr. Takeyama's sound source, as the difference in the words shows, it is unique Arrangement with swelling deep bass bass makes you feel as if you are standing on the same live stage and having a session. It is a finish that you can understand his idea of chewing the original and then translating it.

The jacket picture is by Mr. Akira Kasai, a photographer who has taken Mr. Takeyama's picture for a long time. We asked Mr. Takuji Matsubayashi, the author of "Takeyama Takahashi, the sound of the soul," to introduce the work.