Buscar:the comet is coming

Shabaka Hutchings am Saxofon, Danalogue (Dan Leavers) an Percussion, Roland SH−09, Roland Juno−60, Roland SH−101 und Moog Sub Phatty, und Betamax (Max Hallett) an Drums, Percussion, Roland TR−808 und JHS Pro-Rhythm, haben mit ihrer Mischung aus Synthesizer-Sounds der 80er, Saxofon und Schlagzeug, gespickt mit Punkrock, Jazz-Blasts und Dancefloor-Trance schon reichlich Fans gewonnen.

Für sein viertes Album ging das Trio THE COMET IS COMING diesmal in Peter Gabriels Real-WorldStudio, zusammen mit ihrem langjährigen Toningenieur Kristian Craig Robinson unterzogen sie sich einem
viertägigen Aufnahme-Marathon, angetrieben von Intuition, Können und Improvisation.

Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

Kin Gajo is a Brussels based electro-acoustic jazz trio drawing inspiration on the one hand from J Dilla and Flying Lotus, and on the other from the sound of British jazz artists such as The Comet Is Coming, Yusef Dayes, and Alfa Mist. With their atypical instrumentation-accordion, saxophone, and drums-the trio has developed a sound entirely of their own, with the accordion often resembling a heavy analog synthesizer.



DJ and producer Lefto featured Kin Gajo on his compilation Lefto Presents Jazz Cats Volume 3, positioning the trio at the forefront of the young Brussels jazz scene. The music clearly demonstrates how original and vibrant the results can be when elements of contemporary jazz merge with diverse influences from a metropolitan melting pot.



With Tsuki ?, Kin Gajo releases their first full-length album.

Step into the world of KVR and enter a musical landscape of fusion, jazz and electronica. We briefly introduce the band members to you. On keys Niels Broos, who you know from Jameszoo, Binkbeats and his own albums. On bass Dries Laheye, who just released his solo debut Deining, and who you know from STUFF. and Selah Sue. Lander Gyselinck on drums completes the trio, who you can also know from STUFF. and from Labtrio, Lander & Adriaan and Pourriture Noble (his project together with Zwangere Guy).

Over mountain and valley, these blond-haired sound magicians together land down in the deep caverns of the beat and there they sculpt air and electricity with the unforeseeably danceable.

On May 19, their debut album "Spam Vol.I" will be released, which can nicely join Thundercat, Hudson Mohawke, The Comet Is Coming and Jameszoo in the record bin.

Until We Are Free is the debut album from fabric, a collective of musicians from diverse backgrounds united by a shared goal: to fuse irresistible rhythms and grooves with a direct, socially conscious message that draws vital attention to the contradictions of modern life. The project's name itself evokes the idea of a living, dynamic ensemble—a creative intertwining of different threads, from musical genres to founding musicians and guest collaborators, all actively woven into the social fabric.

The record blends funk, soul, and Afrobeat with a sharp, contemporary urban attitude, resulting in a sound that functions simultaneously as sonic resistance and an invitation to the dancefloor.

It finds its place in a lineage that runs from Fela Kuti and ESG to The Comet Is Coming, Sault and Jungle.

At its core is the conviction that music and civic engagement can coexist seamlessly without being didactic. While the lyrics—entirely in English—tackle themes of rights, equality, and freedom, the groove remains the heartbeat: constant, pulsing, and relentless.

Mixed by Tom Campbell (whose credits include Sault, Little Simz, Adele, Michael Kiwanuka, and Jungle) and featuring art direction by Raissa Pardini, Until We Are Free is a soundtrack for complex times. It is an invitation to refuse neutrality and isolation, and to imagine—together—new possibilities for movement, resistance, and the future.

fabric's singles "Taste This Sound" and "Fight!" have been featured in FIP's Spotify Playlists "FIP Radio (en live)" and KEXP's "New This Week" and "KEXP Rotation".

Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

With Spam Vol.2, KVR - Niels Broos, Dries Laheye & Lander Gyselinck - delivers its second statement.



Recorded in a beautiful studio tucked beneath a bridge in Rotterdam, the album distills a week of free improvisation into vivid, shape-shifting pieces. A beautiful chaos of bass guitars, synths stacked on clavs, drums and machines to get lost in, in between coincidence and intention. Jungle rhythms, elastic time, open structures and organic textures come together in a lively sound that feels playful as well as restless and deeply intuitive.



KVR is Niels Broos (Jameszoo, Binkbeats) on keys, Dries Laheye (STUFF., Selah Sue) on bass and Lander Gyselinck (STUFF., Lander & Adriaan, BeraadGeslagen) on drums.



For fans of Thundercat, Hudson Mohawke, The Comet Is Coming, Jameszoo, etc.

Italian cinematic funk legends Calibro 35 continue their journey into the world of cinematic jazz-funk. "Exploration" marks their return to independent label Record Kicks after their last studio album "Nouvelle Aventures" released on Universal Music in 2023. The band picks up from their latest EP, "Jazzploitation," released on Record Kicks last October. "Exploration" is a deep dive into the universe of cinematic jazz-funk, showcasing both the band's reinterpretations of timeless classics such as Roy Ayers' "Coffy" or Bob James "Nautilus" and original compositions by the band such us the lead single "Reptile Strut", the jazz-funk stormer "The Twang" and the soulful cinematic number "Pied De Poule". An exploration and a new journey for the Milanese combo that a long its way pays homage to artists such as Lalo Schifrin (Mission Impossible), Italian Maestro Piero Umiliani (Discomania and Gassman Blues) and Herbie Hancock (Chamelon). Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career, they have been sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay-Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day"), and Demigodz ("The Summer Of Sam"). They have played major venues and festivals all over Europe, and as unique musicians, they have collaborated with, among others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland, and Rokia Traoré. FOR FANS OF... Piero Umiliani, El Michels Affair, Idris Muhammad, Surprise Chef, Nu Genea, Khruangbin, Snarky Puppy, The Cinematic Orchestra, Comet is Coming, Kamasi Washington

*Long overdue reissue of the first album by The Hanging Stars to coincide with their tour support slot with Edwyn Collins – initial 300 copies come with 12 x 12 print*

“In late-Sixties California, the Byrds and Flying Burrito Brothers combined traditional country music with hippy rock to great success. The influence lingered and whatever cultural relevance it has this is a delightful, transporting listen” – The Times 4/5

London-based psych-folk outfit The Hanging Stars re-release their much-loved debut album Over the Silvery Lake on Crimson Crow. Blending folk pastoralism with swampy 60s Americana, they sound like the missing link between the California desert sun and the grey skies of London Town. The album was recorded between LA, Nashville and Walthamstow, with each of these vastly different places leaving an indelible mark on the songs.

Now signed to the Loose Records label and fronted by London-based songwriter, singer and guitarist Richard Olson (The See See, Eighteenth Day of May), The Hanging Stars are essentially a loose collective of people who weave together a blissed-out psychedelic tapestry. The rest of the core band is made up of Sam Ferman on bass and Paulie Cobra on drums, Horse on pedal steel and Patrick Ralla on banjo, guitar. They jam rather than write and hang out rather than rehearse, harnessing a kind of tipsy euphoria resplendent with luscious arrangements and glorious vocal harmonies.

During 2015, prior to this album’s original release the band released two critically acclaimed singles via The Great Pop Supplement (both of which also appear on the album). “Golden Vanity” was premiered by The Line of Best Fit who said; “you'd be forgiven for thinking you'd just unearthed a rare deep cut from the late 60s/early 70s boom of psychedelia infused Americana” and “The House on The Hill” was described by The Guardian as; "a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club”.

There are a number of allusions to nature and the weather on the album, borne in part out of the contrasting surroundings in which it was produced. The band’s fascination with Americana led them to record some of the material Stateside, laying down some of the parts at Battle Tapes Studios in Nashville (Lambchop, Paperhead), as well as at Vision Quest Studios in Los Angeles with Rob Campanella. His work with The Quarter After, The Brian Jonestown Massacre, Beachwood Sparks The Tyde, and GospelbeacH was a perfect match to capture their sound and they even had San Franciscan legend Chrystof Certik step in on lead guitar for a couple of tracks.

Following the LA recordings, a trip to the Californian desert provided the core notion of what they wanted to produce - a shard of light that they clung on to whilst recording the rest of the album in the significantly more rain-soaked atmosphere of Walthamstow, London, under the watchful eye of Brian O'Shaughnessy at Bark Studios (The Clientele, Comet Gain). As the band explained at the time: “Ultimately we hope you can hear both the sand and the rain in this record.”

The Hanging Stars place themselves firmly as part of a long folk tradition encompassing European and North American influences – as a continuation rather than a pastiche of these styles. This is the sound of a band really coming in to their own, fully formed and in no doubt of their vision. With Over the Silvery Lake they succeeded in producing a record, which has the country, blues and folk traditions at its heart.

Robyn is doing brilliant and important work - the world needs more music like this. Just one word: listen!" Giles Peterson “Even aside from her skills on her instruments and unique approach to music, Robyn devoted an immense quantity of emotional resources to the delivery of this record, and seemed to take its challenges on as a chance for personal growth. It was consistently clear that the personal input of the players was welcome in a fundamental way, and we all responded to Robyn’s efforts that went to the limits of her capacity and her love for bringing her project to you, the listener” Alabaster DePlume “It has been such a joy to work with Robyn, especially when entering the fascinating world of Robyn’s Rocket and Avant Garde jazz. We had our fun moments, like when the fire alarm went off during our recording session of Mystery Man, and we just rolled with it and kept it in. It’s like nothing matters. It’s such an honour to be part of the world of Robyn’s Rocket and to listen to the many stories, expressions and colours that shine throughout the album.”Sebastian Golgiri What happens when you bring together familiar faces at London experimental music venue Café OTO, Charles Hayward (drummer Abstract Concrete, This Heat) and John Edwards (double bass), and the Total Refreshment Centre (hub of new london jazz scene recording studio ) like Alabaster DePlume (singer and saxophonist) and Danalogue (synths from Soccer96, The Comet is Coming), and the learning disability autism art scene like singers/spoken word artists Sebastian Golgiri and Dean Rodney Jnr (Fish Police), on a magic carpet with space trumpeter Robyn Rocket? The answer materialises in the groundbreaking collaboration 'Robyn Rocket and People You May of Heard of'. Recorded across three days in three different studios connected to the three communities Robyn Rocket calls home, each session brought together musicians from these diverse backgrounds—many meeting for the first time. Together, they improvised and created a musical journey that transcends conventional boundaries.

This cosmic voyage features more than 20 musicians and a dog ( Taz from lost socks), gliding through free jazz, danceable tunes, loopy vistas and spoken word doors into different ways of seeing the world. At its heart lies a profound message about community as a vital part of existence and difference as something to embrace and value. The project culminates in the final single and focus track 'We Are All Human', featuring a poignant speech by Rocket from her night 'Robyn's Rocket - a residency at cafe OTO featuring experimental music and live visuals by artists with and without Learning Disabilities/ autistic and non autistic artists ' in the speech rocket talks about supporting each other—words she actively lives by and encourages others to embrace. Like many autistic people, Rocket has experienced abuse, bullying, isolation and feeling unwelcome in the world. “This project is like my nights but you can carry it around with you”, she explains. “I started my own night to share my work. I also recognised, it was a privilege to have my own night, I wanted to help other artists share their work too, and create an environment where people with and without learning Disabilities/Autistic and non autistic people as audience and performers could come together and get to know each other”. Historical Context

Trance Plantations is the latest brainchild of Nathan Daems and Falk Schrauwen (both members of Black Flower and Echoes of Zoo)



They describe what they make as 'fictional Tribe music (from space)'. That previously resulted in a self-titled debut album on which they collaborated with The Comet Is Coming members Danalogue and Betamax. "Behind your face" is their dazzling follow-up album continuing their musical space adventures.

Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that's something he's long understood. After years spent in the orbit of London's jazz circuit, he examines and reimagines his influences with a dexterity that's unique. Drawing out the vision underlying his new album, he says, I see energy as being a form of wisdom to be passed down through the ages.'

Unpicking the album's title, he continues, "When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist's essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that's handed to us from the legacies of our elders.

The album is a document of sessions combining Hutchings with a group of South African jazz musicians he's long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he'd flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage - heroes like Zim Ngquwana and Bheki Mseleku - to bring their own slant to the American jazz lineage which is reconfigured in Hutchings' compositions themselves.

Going beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. Even though I wrote all the music, for me, the leader of the project isn't the person who writes all the music but the one who has a vision for how certain musical elements will be combined."

A regular sight on stages around London and beyond, playing - and often leading - groups like The Comet Is Coming, Sons of Kemet and Melt Yourself Down, he's part of a generation whose idea of jazz is pointedly unrefined. That's to say, Wisdom of the Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.

COMET GAIN hatte sich 1997 eigentlich aufgelöst, aber David Christian wollte den Traum nicht sterben lassen und machte weiter. Alter Name, neue Band. Und ein neues Album! "Tigertown Pictures" wurde erstmals 1999 von Fortuna Pop in UK/EU und Kill Rock Stars in den USA veröffentlicht und wird nun von Tapete Records weltweit neu aufgelegt. "Tigertown Pictures" ist ein wilder Ritt durch alles, was mit Post-Punk, DIY, Indie-POP, internationalem Pop-Underground, Lo-Fi, Garagebeat und Folk & Rock zu tun hat., Boy-/Girl-Gesang, kratzige Gitarren, süßer Lärm und raue Melodien, Enthusiasmus und Schmerz, sogar einige undefinierbare elektronische Klänge. Es ist alles da. "Tigertown Pictures" ist eine dieser Platten, die man auflegt und sich endlich wieder lebendig fühlt.

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

UK supergroup Flock return with their anticipated sophomore album "Flock II". Comprising an exceptional line-up featuring Bex Burch (fresh from her debut solo album on International Anthem), Sarathy Korwar, Tamar Osborn (Collocutor, Dele Sosimi, Unknown To Known), Danalogue (The Comet Is Coming / Soccer96) and Al MacSween (Kefaya), the new recordings showcase Flock"s ability to push the boundaries of the composition process and craft unique tracks based on their collective spirit.

Mermaid Chunky. It's all in a name, sometimes. The danceable, costumed, curiosity rich duo of artists Freya Tate and Moina Moin are as imaginative as they profess. Or, to get more to the point, as we all need them to be. Freya and Moina are two visual artists and musicians from Stroud and South London, places where they importantly found communities (Stroud's SVA and the capital's Total Refreshment Centre) of like minded people just as willing to chase down an idea to its possibly illogical conclusion. And it is in the collective and the idea of participation that Mermaid Chunky really clicks. This is a party, a collective dance, made all the better with more: people, ideas, layers, kick drums, recorders, saxophones, frogs. To wit, the album's first track and first single, "Céilí," named after a traditional Scottish or Irish social gathering and dance, which builds from a simple recorder line into a swelling, warm burst of major chord dance music. Goosebumps or check your pulse. Further down the rabbit hole, "Chaperone" is almost boardwalk electro, like Fischerspooner on a ferris wheel; "Frogsporn" and "Nature Girl" are mucky, trippy dirges filled with stalactites of synth and squelch; "Tiny Gymnast" is a kaleidoscopic waltz into the night. Hold onto your seats, ladies and gentlemen. You might be wondering how we, DFA Records, all the way over in cynical Brooklyn, entered the picture. There was a day a few years ago, sun shining in full Springtime splendor, when James heard something while waiting for a coffee down the street from the office. It sounded simple yet deceptively complex: a dance track, but one where the one - that anchoring first beat in a measure - could be heard a thousand different ways. Frustrated and interested, he Shazamd the song, playing at the shop from an episode of Zakia's Questing show on NTS, and brought it back to the office, where we all listened to it about fifty times. (The song was "Friends," from Mermaid Chunky's VEST EP, released in 2020. It led to an invitation to open for LCD at Brixton Academy in 2022. Mermaid Chunky has also played live alongside The Comet Is Coming, Alabastair Deplume, Snapped Ankles, and many others.) Thus began our search for Mermaid Chunky. A quest it has been and a quest it will always be.

Repress.

British-Trinidadian poet/musician/author Anthony Joseph’s latest album was inspired by and echoes the fertile London scene. Anthony has surrounded himself with some of the best musicians on the local scene, including Jason Yarde, Shabaka Hutchings (Sons Of Kemet, The Comet Is Coming), Crispin Robinson (founder of the iconic acid jazz band Galliano,) and Rod Youngs (Gil Scott Heron’s drummer). Operating as a dedication to poetic ancestors and a coming together of musical generations, ‘The Rich are Only Defeated When Running for their Lives’ is also an almighty jam. Recorded live in August 2020, it shows off the prowess of a team of master musicians from Paris and London. Jason Yarde, who also produced Joseph’s 2018 album ‘People of the Sun’ is credited as producer/ composer/arranger - to startling, albeit intimate, effect. Running throughout the release are inter-connected themes: memory, place, belonging and acts of homage. Anthony Joseph has released seven previous albums - six on Heavenly Sweetness - and collaborated with Archie Shepp, Keziah Jones and Meshell Ndgeocello who produced his album, ‘Time’ in 2014. He is the author of four poetry collections and three novels. His 2018 novel Kitch: A Fictional Biography of a Calypso Icon was shortlisted for the Republic of Consciousness Prize, the Royal Society of Literature’s Encore Award, and long listed for the OCM Bocas Prize for Caribbean Literature.

2024 repress.

French saxophonist Laurent Bardainne summons the spirit of astral jazz on heavy-grooving album, 'Hymne au Soleil'

A dreamlike, cinematic excursion to the outer reaches of the solar system and the inner workings of the soul, Laurent Bardainne returns to Heavenly Sweetness with his Tigre d'Eau Douce group for a second album of genre- agnostic jazzfunk.Building on critically acclaimed 2020 album 'Love Is Everywhere', 'Hymne au Soleil' sizzles with Arnaud Roulin's Hammond organ licks, in-the-pocket bass work from Sylvain Daniel, and shuffling drum and percussion interplay from Philippe Gleizes and Roger Raspail, pinning Bardainne's soaring saxophone lines to the mast like a flag in the wind.

The 11- track album represents a consolidation of Bardainne's vision as a consummate jazz saxophonist, having made his name collaborating with the likes of Pharrell Williams and Cassius, afrobeat legend Tony Allen and co- founding Tigersushi electro outfit Poni Hoax.
That eclectic experience comes to the fore on 'Hymne au Soleil', which is named after a piece by trailblazing French composer Lili Boulanger. Beginning with the lilting, late-night smoker "Oh Yeah", which recalls the mellow funk of Khruangbin, the album rolls through a rich musical landscape, whether in the Motown-era soul breakdowns of "Adieu My Lord" or the roaring, dance floor- ready "Hymne au Soleil", that draw parallels with the high-octane sound of UK jazz outfit The Comet Is Coming..

Warehouse find!

Since emerging in the early 2000s with releases on the seminal Merck label, Proswell (Joseph Misra) has proven to be one of the most original voices in IDM. People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS), his debut on Sheffield's Central Processing Unit, is another Proswell record which overflows with creative energy. Containing five widescreen electronic epics, PAGARTAIS showcases some of the most ambitious work in the discographies of both artist and label.

The core sonic palette of PAGARTAIS is one schooled in the IDM and electronica sounds of imprints like Rephlex Records, B12 and Skam. These tracks are helmed by thick washes of keys, an array of playful synth tones and drums so deft it's sometimes hard to tell whether they have been programmed or played live. However, across almost forty minutes of music here Proswell explodes preconceptions about genre and form, his music gleefully jumping from one new sound to the next while assimilating electro, prog, computer game music, post-jazz and pretty much everything in between.

Opener 'PAGARTAIS I' sets the tone for the rest of the record. This is a track which never sits still - beginning with a distorted melee of drums that comes off like a strange new version of breakbeat, 'PAGARTAIS I' moves through some thrillingly idiosyncratic takes on Rephlex-school IDM, stargazing Detroit electro and The Comet Is Coming's futurist electronic jazz across its near-ten-minute runtime. Following number 'PAGARTAIS II' is no less impressive, referencing the hyper-modern computer sounds of Iglooghost and Kai Whiston while containing a driving opening section which could have soundtracked one of the legendary Wipeout games.

Although this fabulously unpredictable record often zips along at high speeds, Proswell is also able to dial things back when he needs to. Indeed, the second half of PAGARTAIS finds him slowing down a tad in order to deliver some of the album's most atmospheric material - 'PAGARTAIS III' blends cutting-edge electronics with sonorous jazz harmonies and fizzing improvised lead lines, the mysterious 'PAGARTAIS IV' is a sort of freeform variation on the maximalist, colourful electronica of Galaxy Garden-era Lone, and the slinking computerised Braindance number 'PAGARTAIS V' recalls Calum Gunn's recent CPU drop Addenda.

Really, though, none of these comparisons quite do justice to the inventive capacity of this music - Proswell's in a lane of his own here. An incredibly innovative fusion record that takes in IDM, prog, computer music, electro and plenty more besides, People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS) is the sound of a unique musical mind in full flight.

RIYL: Calum Gunn, Kai Whiston, Iglooghost, Rustie, Bogdan Raczynski

Betamax of The Comet Is Coming and Pete Bennie of Speakers Corner Quartet are Coma World. They have come together again to produce a further batch of rhythmically enlightened Dystopian Jazz, alongside illustrious graphic and sound artist Raimund Wong (Floating World Pictures) for this record - 'Coma Wong' (out 6 October 2023 on Byrd Out). The storm clouds are gathering at sea, with the white horses dancing ever faster on the waves. Coma World chose to ride out the tempest, sail up, speeding along together towards who knows what… Expect drums precision engineered with just the right degree of insouciance, drone-bathed sounds rippling and depth charge bass that explodes beneath the surface across 12 tracks. The Wire on their first album, the self-titled ‘Coma World’: “a bold drum ‘n’ bass affair, a nervy meeting between dub and jazz experimentations with new channels explored track by track”. Tom Ravenscroft on BBC 6 Music on ‘Calamari’ from the new album: “I think this is like my favourite track right now… Love it.”

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

Die Singer-Songwriterin, Multiinstrumentalistin und Produzentin Lindsay Olsen aus der Bay Area ist der brillante Kopf hinter dem schrägen und magischen Projekt Salami Rose Joe Louis. Auf der Grundlage ihres Studiums der Planetenwissenschaften erschafft sie eine einzigartige Erfahrung: Sie erforscht Ideen von Multiversen und Klimawandel durch die Linse eines fiktiven postapokalyptischen Erdenbürgers mit Keyboard, einer Taschenlampe, einer Dose Cashews und einem hoffnungsvollen Optimismus. Durch die Verschmelzung von Einflüssen aus Jazz, Rock und Hiphop, wie bspw. Shuggie Otis, Captain Beefheart, Stereolab oder R. Stevie Moore, schafft sie eine einzigartige Mischung aus experimentellen Klängen aus der Galaxis mit jazzbeeinflusstem Gesang und Keyboard.
Das neue Album folgt auf kürzliche Kollaborationen mit Toro Y Moi oder Alice Phoebe Lou für ihr Strongboi-Projekt, auf einen Remix für die Brainfeeder-Labelbuddies von Hiatus Kaiyote und auf die Mitwirkung am Song „Scapegoat“ des mit einem GRAMMY ausgezeichneten Rappers Baby Keem. Olsen hatte außerdem die Ehre, mit Flying Lotus, The Cinematic Orchestra, Toro Y Moi, TuneYards, Clairo, MNDSGN, Homeshake, The Comet is Coming und Still Woozy zu touren. „Akousmatikous“ ist die erzählerische Fortsetzung von ihrem letzten Studio-Album: Nachdem das Metropolis-Raumschiff am Ende von „Zdenka 2080“ auf die Erde gestürzt ist, kommt es zu einem dimensionalen Kollaps. In der Folge verwandeln sich die Köpfe und Hände der Erdbewohner:innen in Bildschirme, womit das neue Album beginnt. Die Erdbewohner:innen stecken in einer nicht enden wollenden Video-Feedback-Schleife zwischen ihren Köpfen und Händen fest. Ein interdimensionales Wesen, Zeeanori, manipuliert diese Rückkopplungsschleife, weil es will, dass die Pflanzen die Erde zurückerobern und die Natur wieder blüht und gesund wird. Ein alter Freund und frühere Liebe des Monsters, Akousmatikous (von einem fernen Planeten), kommt auf die Erde, um es zu sprechen, weil er neugierig auf seine Motive und die komplizierte ethische Situation ist. Akousmatikous stimmt zu, dass die Natur schön sein und blühen wird, ist aber besorgt über das Schicksal der Erdbewohner:innen, die in unendlichen Rückkopplungsschleifen gefangen sind. Akousmatikous hofft auf eine Lösung, die für jedes Wesen und jede Entität von Vorteil sein kann, einen Weg zur Symbiose.

Shabaka Hutchings debut release under his own name, Afrikan Culture, was released on Impulse! Records in May 2022. Known for his globally-acclaimed, groundbreaking groups (Sons of Kemet, The Comet Is Coming, Shabaka and The Ancestors), this release finds Shabaka at a quieter, more meditative space than the pulsing, driving material found in his other groups. The 7-track release is primarily made up of Shabaka on various wind instruments with other complimentary instrumentation sprinkled throughout

Hervorgegangen aus der Straßburger Szene und dem Omezis-Kollektiv, dem etwa zwanzig Künstler, Musiker, DJs und Videografen angehören, saugt Emile Londonien die englische Jazzszene der letzten fünfzehn Jahre auf. Der Spitzname Emile Londonien, eine doppelte Anspielung auf ihre britischen Einflüsse als auch auf einen berühmten, französischen Saxophonisten, entstand spontan. Als Symbol einer Generation, die in der Clubkultur aufgewachsen ist, wurde eine Band gegründet, die genau diese Kultur mit Jazz-Trio-Tradition verbindet. Ihre ersten Produktionen, die regelmäßig auf der BBC-Playlist aufgeführt werden, fanden ein begeistertes Echo. Bis vor wenigen Monaten unbekannt, spielte die Band beim Worldwide Festival von Sète, beim Montreux Jazz Festival im Sommer 2021 und bei Nancy Jazz Pulsations.
Beeinflusst von Yussef Kamaal, The Comet Is Coming, Atjazz, SunRa, Ornette Coleman oder Thelonious Monk, aber auch von der Broken Beat-, Jazz-, House- und Hip-Hop-Szene, verkörpert Emile Londonien diesen französischen Jazz-Stil der "nächsten Generation" perfekt.
Als CD und LP (Black Vinyl) erhältlich!

“We’ve been reflecting on the relationship between our innerworlds and outerworlds,” says Soccer96’s Danalogue. “How our minds shape our experience and our experience shapes our mind. How caring and nurturing our innerworlds can improve our relationship with our outer experiences. We see the creation of music as the bridge between these two worlds.”

Betamax, who makes up the duo along with fellow Comet is Coming member Danalogue, describes their latest album as “spiritual combat music to steady us through the stormy changes of the outer world.”

For this album the pair co-wrote with The Colours That Rise, Tom Herbert, Salami Rose Joe Louis, Simbad and Rozi Plain.

From the exhilarating electronic charge and propulsive rhythm of ‘Crystal Pyramid’ to the almost cosmic drum n bass of ‘Speak More of Love’ feat The Colours That Rise, the album takes in a vast array of sounds and styles, from jazz to electronica, while never really sitting comfortably within easy genre categorisation. “We are searching for particular spontaneous energies that feel fresh and resonant,” Betamax says. “The hope is that when we reach this experience the music can penetrate the mind and affect the deepest mental processes.”

A sonic-minded power trio of obsessive, biting riffs and mists of asymmetrical sonic cycles. Inspired as much by French chamber music of the 19th century as by Jim O'Rourke or Moondog, Under The Reefs Orchestra's hypnotic music unleashes a cosmic energy and leads the listener to a trance among underwater volcanos. Guitarist Clement Nourry's gentlemanly demeanor masks the great fiery passion of a true musical virtuoso. "I focus on one thing, and one thing entirely" says Nourry. For him, that one thing is the guitar. Combining the deep theoretically understanding of a skilled mathematician (which he actually is) with a true musician's soulful instinct, Nourry is as comfortable with John Fahey as he is with experimental jazz. To put it simply: he shreds. This trip through the timeless realms of sound can be heard as a soundtrack of the ecological apocalypse we live in. Genry/Style: Post Jazz, Post Rock, Experimental - For those who like Moondog, Comet is coming, Yonatan Gat, ADHD, Kamasi Washington, E. Morricone, Talk Talk (Spirit of Eden), Ryuishi Sakamoto...

Flock is a brand new collaboration between five leading musicians from London's open-minded jazz and experimental scenes: Bex Burch (Vula Viel), Sarathy Korwar, Dan "Danalogue" Leavers (Soccer96, The Comet Is Coming), Al MacSween (Maisha) and Tamar Osborn (Collocutor).

Even in trying times, “there is no love without electricity.” Electricity is the fourth and most progressive album from Ibibio Sound Machine, and like all good Afrofuturist stories, it begins with an existential crisis. “It’s darker than anything we’ve done previously,” says Eno Williams, the group’s singer. “That’s because it grew out of the turbulence of the past year. It inhabits an edgier world.”

Electricity was produced by the Grammy Award and Mercury Prize nominated British synthpop group Hot Chip, a collaboration born out of mutual admiration watching each other on festival stages, as well as a shared love of Francis Bebey and Giorgio Moroder. The fruits of their labor reveal a gleaming, supercharged, Afrofuturist blinder. Electricity is the first album Ibibio Sound Machine have made with external producers since the group’s formation in London in 2013 by Williams and saxophonist Max Grunhard. True, 2017’s Uyai featured mixdown guests including Dan Leavers, aka Danalogue, the keyboard jedi in future-jazz trio The Comet Is Coming, but Hot Chip and Ibibio Sound Machine worked together more deeply throughout the process, collaborating fully. Along the way, the team conjured a kaleidoscope of delights that include resonances of Jonzun Crew, Grace Jones, William Onyeabor, Tom Tom Club, Kae Tempest, Keith LeBlanc, The J.B.’s, Jon Hassell’s “Fourth World,” and Bootsy Collins.

The hook of opener “Protection From Evil” has Williams wielding a massive synth line from Hot Chip’s Al Doyle like a spiritual shield against unspecified, malign forces unspecified because Williams is speaking in tongues. Her lyrics are onomatopoeic: their meaning is defined in her energetic delivery. As Electricity takes off, so do Williams’ words towards a brighter future, alternating between English and Ibibio, sometimes within verses, and propelled by Joseph Amoako’s unabating afrobeat. She digs into this sentiment further on single “All That You Want,” coolly assuring her romantic interest while also requesting reciprocity. Meanwhile, Scott Baylis’ playful Juno synth guides the listener’s feet along the dancefloor.

Electricity is a deep and seamless realization of Williams’ and Grunhard’s ambitious founding manifesto to combine the singularly rhythmic character of the Ibibio language which Williams spoke growing up in Nigeria with a range of traditional West African music and more modern electronic sounds. While the band enjoys veering further into electronic territory with the help of mutuals like Hot Chip, Grunhard emphasizes, “For us, it’s not just a matter of embracing new technology. What’s key is to keep the music grounded in African roots.” Ibibio Sound Machine best exemplify this on Electricity’s “Freedom.” That track was inspired by the water-drumming rhythms of Cameroon’s Baka women, which in turn fueled its lyrics, which in turn prompted Hot Chip and Ibibio Sound Machine to layer joyfully kinetic electronic counterparts on top in the studio. As the track culminates with the mantra of “rage, hope, cope, soul,” it’s clear that Ibibio Sound Machine have channelled, harnessed, and distilled these words as guiding principles, both for the album and for the turbulent world that awaits it.

‘Primordial Waters’ is Jamael Dean’s debut album on Stones Throw, following ‘Black Space Tapes’ (2019) and ‘Oblivion’ (2020).

Gatefold double LP. Cover photo by renowned photographer B+ (Brian Cross).

‘Primordial Waters’ sees the prodigiously talented young musician take his explorations in jazz and hip-hop to new heights. Inspired by Orisha stories and Jamael’s Los Angeles roots, the album is heavily infused with Yoruba spirituality and celestial themes. Several of the
tracks interpolate traditional Yoruba songs and feature vocals from frequent collaborator Sharada Shashidhar.


The album was mixed by Leaving Records’ Zeroh and mastered by Grammy Award-winning audio engineer and Low End Theory founder Daddy Kev.

Jamael performed on Kamasi Washington’s 2018 album ‘Heaven and Earth’ and has toured with Thundercat,

Miguel Atwood-Ferguson and Carlos Niño. Extensive touring is planned for 2021 and 2022, including a residency at LA’s Gold Diggers, a double headline bill with Mndsgn at the Jazz Cafe, and several European jazz festivals and club shows in November 2021.

For fans of Sun Ra, The Comet is Coming, Kamasi Washington, Moses Boyd, Joe Armon-Jones, Nubya Garcia, Sons of Kemet, Alice Coltrane.

Comet Records is so thrilled to present Psyco on Da Bus 20th Anniversary, for the occasion it will be reissued as a Double Vinyl LP and newly remastered.

Recorded in just few weeks in the US during Tony Allen's Black Voices album tour in Spring 2000, on Doctor L’s G3 in different places as hotels rooms, local studios (Nyc, Toronto) and the tour bus.
Doctor L and the members of Tony Allen & Afrobeat 2000 band get the idea of making a collective album alltogether, co-writing both songs and music a
nd creating a new spectrum that reflects their different musical backgrounds. Doctor L, Tony Allen, Jean-Phi Dary, Cesar Anot, Jeff Kellner are the “psyco bus” members.
Completed later in Paris with guests artists like Smadj, Dom Farkas and Eric Guathier, Psyco On Da Bus project fill the gap between the 70's and the new millenium, blending afrobeat rhythms, gospel & soul vocals, jazz & funk licks with wicked electronics and astonishing production.

From the futuristic funk of “Afropusherman” to the eastern sounds of “Many Questions” or the killer floor filler “Push your mind Breakbeat” , from the underrated spiritual suite “Time To Take A Rest”, hybrid fusion of free jazz, poetry, rare groove and nu-beats, to the outstanding “Never Satisfied”.
Last but not least the artwork was created and produced by the talented french graphist designer, filmmaker Edouard Salier. Tony told about his collaboration with Doctor L on this project in 2001: “Younger people are coming into Afrobeat right now. And I personally don't want to be past, I want to be future. Young people like hip-hop, and techno, which is what I must think about. It's the direction I want to take. It's an experiment I've wanted to try. That's why I wanted Doctor L to produce the album.”

‘The record is inspired by the idea of humanity’s ever-increasing entanglement with technology and artificial intelligence, balancing fears and moral concerns with the possibilities of evolution’s next phase’

A new Soccer96 album is a chance for Danalogue (Dan Leavers) and Betamax (Maxwell Hallett) to return to something of a spiritual creative home. Between them, the keyboardist and drummer have become synonymous with the thriving London jazz scene and, in their mind-bending incarnation as the astral synths-and-drums pairing, they’ve traversed stylistic worlds. Over nearly a decade, the duo have metamorphosed from a DIY outfit whose rough-edged recordings hit with a punk spirit, to cosmic dreamers that use sound to travel the reaches of the mind.

First single Dopamine features Nuha Ruby Ra on vocals who sings from the perspective of human and machine throughout the track. This concept overlaps with the music seamlessly, forming a meeting point between technological and human exploration.

Dialogues between the band and Nuha crystallised a shared vision of a future where humans and artificial intelligence are entangled in a codependent relationship based on the giving and receiving of pleasure hormones, the robots only source of dopamine is to receive it from humans, and the humans’ ability to unleash the monsters of the worst of human emotion.

Danalogue and Nuha sing together ‘It’s a Long Way down’ .. the feeling of jumping from the cliff of our current state as humans and ‘free-falling’ into the unknown of robot-human intertwining. By the outro they are pleading with each other over their dopamine co-dependency, in terms of both giving and receiving the hit. "Dependency leads to free-falling integration, a moment of freefall into robotic consciousness. Humans and machines are locked in a dance of addiction." explains Betamax.

Soccer96 has always been a vessel for Danalogue and Betamax to find clear water from their multitude of other collaborations, their most notable being as two-thirds of The Comet Is Coming alongside Shabaka Hutchings. Danalogue’s other recent production credits include Snapped Ankles and Calabashed, whilst Betamax has been making music with Champagne Dub and Coma World.

“Through collaborating with various artists and developing our own sonic language, it feels like we have created a sound of our own,” says Danalogue. “Now we think less literally and take more liberties to not necessarily sound like a duo. It’s more like a production team that can be augmented or stripped back depending on what the music calls for.”

Dopamine, though, sees the pair back together once again, incubating their findings of the past two years and moving Soccer96 into new territories. The record is maybe darker in some senses than what they’ve put out before; it’s inspired by the idea of transhumanism and humanity’s ever-increasing entanglement with technology and artificial intelligence It balances fears and moral concerns with the possibilities of evolution’s next phase. “The LP title Dopamine refers to the type of neurotransmitter associated with pleasure, that enables technology to hack into our minds and control us, creating addiction, dependency,” Betamax explains.

Dopamine began life as a sonic reaction to the graphic novels of ‘Moebius’ Jean Giraud. The duo then started swapping reel-to-reel tape ideas through each other’s letterboxes in lockdown, before eventually convening in the studio and displaying one of the revered French artist’s images in the middle of the studio for inspiration.

“All musical decisions would centre around this image,” Betamax says. “It was a depiction of a cosmic traveller gazing across a desert at a sort of crystal city. If the music was resonating with the image then we knew we were on the right path. We are both glad there is a lot of emotional warmth underpinning the whole thing. We are trying to connect with the human essence at all times.”

The edition that marks the start of the brand-new Comets Coming could not be more suitable: it is that Rodrigo Brandão, like his grandfather Herman Poole Blount, dust of stars that the world knows as Sun Ra, may have his feet on the Earth, but he has definitely a sidereal head.

Brandão arrived recently to Portugal, but already left a strong mark in the most adventurous Lisbon scene, having performed several concerts in which his language has been wrapped in the exploratory sounds of musicians such as Rodrigo Amado, João Valinho, and Hernâni Faustino. The agitator, poet and spoken word artist, brought a vast experience that over the years saw him collaborate with artists as distinct as the members of Metá Metá or Prince Paul (that one!) on BROOKZILL!.

This work, however, came in his luggage, across the ocean, on the rediscovery trip that brought him from Brazil to Lisbon. OUTROS ESPAÇO was recorded in São Paulo in late 2019 with a luxury crew: Tulipa Ruiz and Juçara Marçal added to the microphone, Thiago França played flute and alto & tenor saxophones, Guilherme Granado dealt with the synthesizers and effects, Marcos Gerez measured the overall pulse with his electric bass, Thomas Rohrer played soprano and 'rabeca' (fiddle), and Paulo Santos dealt with the percussion. In addition to the base band, OUTROS ESPAÇO also features some members of Sun Ra Arkestra's current incarnation. Respectively: Danny Thompson (RIP) on baritone and bongo, Elson Nascimento on 'surdo' (tom drum), Knoel Scott on tenor and soprano, with the giant Marshall Allen in a prominent role leading the collective towards the unknown, while playing the alto sax and synthesizer.

In OUTROS ESPAÇO, Brandão reaches for words from different origins, from contrasting times and cultures, all with magnetic resonance imaging: what is not from his furrow comes to him from Candomblé (“Quando Os Orixás Desfilam Sobre A Cracolândia”), from his readings of Sun Ra (“Eu Sou 1 Instrumento” is an adaptation of the poem I Am An Instrument), or from the school's playgrounds (“Jamais Nos Esqueceremos”). And in these words there are teeth and nails ingrained in injustice (“Quantos Coltrane...?, “Todo o Dia Tem +”) and kaleidoscopic delusions that result from the speed of light (“Sol da Meia Noite”).

The crew that travels through these OUTROS ESPAÇO (PT for "Other Spaces") has freedom as the main fuel, jazz as a measure of their reach, and all swings in the world as maps, so they can lose themselves at the end of the cosmos. There is urgency and reflection, craziness and precision, surprise and well-known ancestral raw material, that makes us vibrate inwardly with the same trembling as the comets that are coming.

The visionary and veteran Scotty Hard was responsible for making everything sound like the music of the spheres, dealing with the mixing from his INGUASONIC SOUND studio in Brooklyn, NY.

And lastly, in January, Rob Mazurek, another frequent ally of Brandão, another notorious space traveler, offered a poem that frames this project. Among other things, he writes:

Make this place sing

Make this place thunder

Make this place shake

It couldn't be in any other way.

Pre-pandemic, there was a plan. The plan was for musicians from South Africa and Senegal to travel to London's in uential Total Refreshment Centre to make an album with musical kindred spirits in the UK. Like so many plans, it had to be adapted. Album features an array of high profile players from the burgeoning nu-jazz scenes in London and Johannesburg, including Theon Cross, Asher Gamdeze, Siya Makuzeni (SPAZA), The Comet Is Coming's Danalogue & Alabaster dePlume

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.
Tony's solo album, No Discrimination, marks an important turning point in Tony Allen's musical life. Tony had recently left Fela's band, which was clearly an emotional yet necessary change as Allen sings of love and brotherhood throughout his fourth solo album. No Discrimination, both in composition and sound, is a blueprint for the future of Afrobeat, decades ahead of its time. The songs are a mixture of old and new - fusing the classic Afrobeat compositional style with modern production and ideas. Classic tunes like "No Discrimination" and "Ariya" pushed boundaries for what Afrobeat could be, which a wave of Afrobeat bands would pick up on decades later.
With No Discrimination, Tony begins to move Afrobeat into the future, which he would continue doing for the rest of his career.
Tony Allen was a musical and compositional visionary, and this album finds him beginning to explore that vision outside of Fela's immense gravitational pull. They are the start of a new era in Tony's fruitful career as a solo artist, opening the floodgates for his distinctive Afro-Funk sound and laying the foundation for the next generation of Afrobeat musicians to come.

Kolonel Djafaar’s ‘Cold Heat’ packs a mighty punch, combining the irresistible charm of Ethio jazz and psych rock with the power of a big band brass section, that has made them a formidable live force across Belgium. As they come into their own cinematic sound, now is the time for them to be enjoyed more widely, thanks to masters of exotic groove, Batov Records.

Kolonel Djafaar’s debut release for Batov is an all-killer-no-filler EP. On "Bactrian Camel’’ the four-man brass section picks up a thundering groove, only for the organ-led rhythm section to answer with their own snaking retort. Joris Wendelen’s electric guitar riffing adds a further Middle Eastern flavour to the stew. Written by trombonist Willem De Mol, who delivered the song after two months alone in Russia, "Lamentation" continues the Ethio vibe with a little
Latin panache. The brass-led tone here is mysterious, the melody lingers. An almost surf-esque guitar solo transports the listener before the main groove on organ and brass recalibrates us to the solid rhythm.

Comparable to, but distinct from, The Budos Band and The Comet is Coming, the low-slung sounds of "Recording 68" in particular reveal Kolonel Djafaar coming into their own. The tempo drops, emphasizing the depth of the groove. The EP is appropriately closed in cinematic style on "The Heist". The pace picks up. Drums of death, in the mode of DJ Shadow or Unkle, hold up the distorted synths and that sharpest of horn sections. A song ready for the dirtiest of chase scenes. "Cold Heat" is suitably titled. Fast or slow, killer grooves that will take no prisoners. A taste of Kolonel Djafaar’s power on stage and the clearest picture yet of their direction in sound.

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.
1978's No Accommodation for Lagos, Tony Allen's third solo album, is an effortless Afrobeat masterpiece. The Afrika 70 band floats through two of Tony's heaviest and most churning compositions.
With this album, we start to hear Tony Allen's unique style of Afro-Funk that he would explore for decades to come as a solo artist - it is groove-focused, a rolling meditation on rhythm.
The first track, "No Accommodation for Lagos" is one of Tony's most pointed and churning songs, recorded in a chaotic period following the army raid of Fela's compound. There is a seriousness to the funk, a real burning purpose in the performance of every instrument, from the horns to the shekere. Tony's performance is supercharged - he clearly showed up to the studio that day with a fire in his heart. The followup track, "African Message," is an Afrobeat compositional staple. Tony sits back in the cut through most of the supremely funky track until about seven minutes in, when he steps into the spotlight to express himself fully - his emotions, his frustrations, his convictions - in a fiery duet between his drumkit and his voice. The percussionists coalesce around him in support, lifting Tony up as he gives it his all.
Tony Allen was a musical and compositional visionary, and this album finds him beginning to explore that vision outside of Fela's immense gravitational pull. They are the start of a new era in Tony's fruitful career as a solo artist, opening the floodgates for his distinctive Afro-Funk sound and laying the foundation for the next generation of Afrobeat musicians to come.

Coma World is a new collaboration between Maxwell Hallett, a.k.a. Betamax (The Comet Is Coming/Soccer96) and Pete Bennie (Speaker's Corner Quartet) bringing together their potent chemistry in an intoxifying debut LP. Betamax drives the duo with his signature 'rhythmadelic' drum rapture as Pete elegantly pummels bass tones into an assortment of wonky pockets. Both layer on a blanket of electronic dark matter to create a sonic womb-like world laid out for the brave listener to explore. This is dub and jazz reduced to the raw fundamentals of experimentation, trance and spontaneity. Inspired by a friend's recollections of being in a coma, the duo delve through the mysteries of consciousness and return with a striking array of colourful sound artefacts. From Cosmic flushes that wouldn't sound amiss on a record by Byrd Out collaborator the late, great Andrew Weatherall, through to drowsy groove meditations and explosive eruptions, the album plays by its own rules but demands attention. The two artists sling their dirty funk through cold clouds of darkness leaving psychedelic trails of bleeping fractal spillage. The sonic experimentation is distilled through analogue studio relics followed by a rugged 'all hands on deck' live mix down performance from 1/4" tape. The result is a spontaneous collection of sonic debris that will be administered to willing participants through 12" vinyl format.

Produced and recorded by the one and only Capitol K, who has recorded the likes of Thurston Moore, Flamingods, Snapped Ankles, Alabaster DePlume, The Comet is Coming and Deerhunter.

For fans of Mica levi, Tirzah, laps, Ivor Cutler

Mermaid Chunky are a post punk, free improvisation, performance art duo. Working in rhyme, costume and film they play drum machine, Casio, voice, saxophone and plethora of found household objects and toys to create there own sound world.

Not to be tricked by this naive playfulness Mermaid Chunky are musicians versed in classical and jazz lineage. Formed around the exciting SVA (Stroud valley arts) a west country community arts centre and music venue, Mermaid Chunky’s captivating performances came to be recorded and produced by Capitol K at Total Refreshment Centre and thus we have here VEST….
'Idiosyncratic blend of afrobeat, rap, post punk and performance art - totally unique and always a joy to behold.' Good On Paper.

2025 Repress

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket. Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever. Progress showcases Afrika 70 doing what they do best: digging deep and bringing the force, but always with
remarkable restraint and swagger, propelled by Tony’s steady hands and feet. The title track, “Progress” starts with a bang and never loses steam - a performance so fierce that it stands alongside Fela’s most
powerful anthems. The second track, “Afro Disco Beat” shows Tony Allen at one of his creative peaks. He tells: “What I was saying on Progress was that instead of fighting Fela for money, I was trying to progress and create on my own. Progress is what a hard worker is looking for I had to look it for myself” (Taken from Tony’s autobiography by Michael Veal). Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.

Comet Records presents the Tony Allen & Africa 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.

Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever.

Produced by Fela Kuti in 1975, Tony Allen’s first solo album with Afrika 70, Jealousy, is like the man himself: light on its feet yet deeply settled, spacious yet bursting with magical talent. On the title track “Jealousy,” Tony is joyously in his element, conducting one of the mightiest bands in the world - he is the head chef, and the band is cooking. The second track, “Hustler,” features one of the most iconic solos in drumming history, a rare glimpse into Tony’s gift of musical phrasing - it is possibly the best example of Tony’s ability to literally
speak through his beloved drumset.

Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.

Bristolian promoters Worm Disco Club have been championing South-Western talent since their inception in 2014. Having collaborated with Glastonbury Festival on their notorious 'Wormhole' stage and hosted the likes of The Comet Is Coming, The Heliocentrics and The Mauskovic Dance Band at their regular club night, the name has become synonymous with quality groove laden goodness, percussive madness, jazz, psych and beyond. Now proudly presenting their label Worm Discs, the collective recruit some of Bristol's most notable emerging talent for an exploration into the new wave of Jazz emanating from the city. As Andrew Hayes, (Run Logan Run) explains : "Bristol has always had its own sound, but there's been a new crop of young players come through over the past five years that's revitalised the scene and expanded its expectations about what jazz music means. Featuring the likes of Waldo's Gift, Run Logan Run (Montreux Jazz Talent Award winners), BaDaBoom, Lyrebird and Alun Elliot, 'New Horizons' channels the seismic energy of the sonically rich landscape into 12 progressive, psychedelic, impeccably crafted tracks.

Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation.

Nightports is about amplifying the characteristics of the musician – celebrating what’s particular about them, finding sounds that nobody else can make, constructing a complex sonic weave that, however radical the transformations, still bears the watermarks of its origin.



“Within the depths of the drum takes, we found hidden melodies, chords, structures and bass lines which we distilled and exaggerated to realise this album,” Slater explains. “On the one hand, this album is fully improvised in that all drum performances were spontaneous, intuitive and responsive; however, they were then subjected to editing and manipulation to arrive at a sound that is neither purely improvised nor constructed.”



Nightports w/ Betamax will be released on CD, digital and limited edition vinyl LP. As with the prev-

ious album, the vinyl is packaged in an intricate die-cut sleeve, designed by Split.



Recorded in one day in February 2018 with The Comet Is Coming’s Betamax at Malcolm Catto’s Qu-

atermass Sound Lab studio.



The Comet Is Coming continue their stratospheric trajectory, this record follows 2019’s Trust In The Lifeforce of the Deep Mystery.

Kristian Craig Robinson, aka Capitol K, is a multi-instrumentalist and record producer with a long history in London’s most interesting under-the-radar music places and spaces. With a musical story like his, you can expect side streams. New record ‘Birdtrapper’ is “the sound of an initiation rave in a utopian hidden village”, and his latest exploration of Mediterranean audio mythos following from ’Goatherder’ (2018). The six track mini-album was similarly formed from ritualistic improvisations performed in Malta (where Capitol K was born), using home-made flutes, reed pipe, bamboo percussion, drum machine, bass guitar, but this time features a wider use of synthesizers, with the alternative dance floor in mind. Where ‘Goatherder’ was an awakening of genetic primitivism, ‘Birdtrapper’ is an evocation of sonic bird callers, proto-rave abandon, ambient resonance and an ecstatic captive state, along with the previous work's visions of hunters, temples and scrub land music
‘Goatherder’ caused a quiet kind of quake and was beloved by The Quietus, BBCR3 and 6Music. Vinyl Factory described it as “like a series of manipulated field recordings that have an ancient, ritualistic quality … Goatherder shimmers with Balearic strangeness, rooted in an earthy outer-national dance music tradition”. For the last seven years K has been behind the consoles at the heavily influential Total Refreshment Centre, recording and mixing records with the likes of Trash Kit, The Comet Is Coming, Rozi Plain, Alabaster DePlume, Dry Cleaning, Flamingods Cykada, Ibibio Sound Machine, BAS JAN and John Johanna. It’s not just recording. He’s also become an influential if understated mentor to a new wave of producers and bands. His experience in studio environments is long and storied, including stints at Studio Plateaux on an island in the middle of the Thames and in the Royal Symphonia’s squatted rehearsal rooms. Capitol K has released seven albums and the 'Birdtapper EP' follows a legacy of influential releases on early 2000s electronica labels including Planet Mu and XL. Aside this he also runs the record label Faith & Industry. It’s a friends and family, love not money affair and he has released music by Champagne Dub, John Johanna, Super Best Friends Club, Blue House & Clémentine March.

Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality.

The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla.

On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".
To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

An ode to the music of Zimbabwe past and future, representing the country’s two major cities - Bulawayo and Harare.
The Bulawayo side sees longtime township legends Bulawayo Kwela meet UK producer Danalogue (The Comet is Coming). Reverb-drenched drums and snatches of Penny whistle back the words of the poet Albert Nyathi for a leagues-deep dub Conference. “Nomalenga” stays true to the Township Kwela style that the group has been playing for over 30 years.
The Harare side sees David Tapfuma (longtime collaborator with Stella Chiweshe) deliver an ode to the ghettoes of the capital, accompanied by a solo mbira. Cape Town’s ESA delivers a subtle treatment of the original, drifting the mbira hook into 3am dancefloor territory on a cloud of synths…

Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. "I feel like I'm a part of modernising jazz and connecting it with audiences today" Yazz says, "it's exciting".

Her take on jazz weaves in Arabic melodies to evocative, cinematic effect.

'La Saboteuse' is a deep exploration of both her British and Bahraini roots. Ably assisted by musicians including Lewis Wright on vibraphone, MOBO-winning new jazz kingpin Shabaka Hutchings on bass clarinet and Naadia Sherriff on Fender Rhodes keyboard, it's composed of undulating rhythms, Middle Eastern melody and Yazz's sonorous trumpet lines. The record sounds like the passage of a desert caravan, bathed in moonlight. The theme of 'La Saboteuse' is the sense of self-doubt that Yazz feels when she is creating, personified in a female saboteur, an anti-muse that spurs her into action. "Giving 'her' a name has really helped me to identify those negative voices we all get," she says. "I know what it is and I know how to combat it"

Black Rain returns with Computer Soul: the final part of a sequence of Blackest Ever Black releases that began with 2011's Now I'm Just A Number: Soundtracks 1994-95, and a first glimpse of the project's richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015's Dark Pool) - making for the most most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright's celebrated William Gibson soundtracks (compiled on Now I'm Just A Number) and extrapolations of Dark Pool's neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain's incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson's Sprawl or the Blade Runner universe (particularly K.W. Jeter's spin-off/continuation novels which extended its mythology, and timeline, further). It's not news that many of these works' most powerful predictions and prophesies have come to pass - the replicants are already living among us - so Computer Soul projects further into several possible unforeseen futures, its events 'set' in the second half of the current century, fifty or so years after those of Dark Pool. The hyperpopulated metropolises of Dark Pool are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river....and a new way of living.

For its next release, No.19 Music welcomes one of dance music's most celebrated contemporary artists in Ryan Crosson for a new single coming on vinyl and digital.

Crosson is a true techno tastemaker who hails from Detroit. He's released on long established labels like Minus, as well as going on to form Visionquest with Seth Troxler, Shaun Reeves and Lee Curtis, and the label of the same name where he also put out key EPs and LPs with Merveille. From headline sets at festivals round the world via club gigs at the most tasteful venues in the scene, he is a real giant of underground dance music with studio skills to match, as this standout three tracker proves.

Superb opener 'Comet Pills' is a deep and thoughtful track that encourages your mind to wander off into the cosmos. Slick drums and melancholic chords set the tone, while the bass fleshes things out and sci-fi details bring out a cinematic quality.

The brilliantly mysterious 'Roscoe' is expertly stripped back and reduced house music that takes you on a trip. It's quick and smooth, with watery sound design, soft hits and muffled vocals adding intrigue to a track that is both cerebral yet designed to make you move.

Last of all, 'Snake Oil' is another fully realised offering which journeys to the edges of the galaxy, with long lingering ambient pads suspending you in mid-air as squelchy synths and shuffling drums keep one foot on the dance floor.
These are three terrific cuts of seriously atmospheric house and techno.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

Every record includes a downloadcode to get the whole digital
release for free via Facebook !! Grain Audio welcomes Panik Pop from Leipzig, Germany. The nice duo present their new single "Gefühl" (german: Feeling) which shows the more soulful side from Max and Marcus (besides their love for straighter, technoid music). The remix is coming from Traumfabrik in exchange of the mix Panik Pop did for their current "Every Weekend EP" on Cometomusic. Another more progressive digital only bonus is coming from Bjoern Nafe (Mangue Records, Damm). Jede Vinyl enthält einen gratis Downloadcode für das gesamte digitale Release (einzulösen via Facebook) !! Grain Audio begrüßt Panik Pop aus Leipzig. Das sympathische Duo präsentiert seine neue Single "Gefühl"und zeigt sich von der gefühlvolleren Seite (abseits der Liebe zu eher technoideren Klängen). Geremixt wurde von Traumfabrik als Dank für Panik Pop´s Remix zur
aktuellen "Every Weekend EP" auf Cometomusic. Zudem gibt es noch einen eher progressiven digitalen Bonusremix von Bjoern Nafe