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Funkyjaws Music is back with more music to make your jaw go funky, this time in the form of a second volume of its Let's Dance series. It features a quartet of esteemed tune makers starting with Frank Booker's 'Yes No Maybe' which is a horn laced and loose-limbed delight, while go-slow master Eddie C brings his classy touch to the funky licks of 'Love Dancing Theme.' There are plenty of cosmic synth waves to Black Truffle's 'Dancing Through The Night' while the LTJ Xperience close down with a super laid back and summery vibe on 'Sunny Groove.'

The Take It Easy label returns with a red one and limited edition one-sided 12" that features a Bugsy 'ReDrum' of Wema's 'Kiherehere' cut. The original artists are a five-piece Tanzanian outfit founded on community and they have a global approach to sound that plays out here.

In Bugsy's hands, it becomes a club-ready cut that fuses house and techno with the original's traditional Tanzanian instrumentals and Afro-Latin rhythms. Add in a fiery vocal and the sort of unrelenting drum funk that sends crowds mad and you have another standout from this fledgling label.

A 2LP compilation featuring 42 of the world’s most supreme Northern Soul anthems.

An essential collection for any fan of great timeless music, this compilation celebrates the dance movement that emerged in Northern England and the Midlands in the early 1970s. Be transported back to the swinging sounds of Northern Soul, featuring the soulful classics from Gloria Jones, The Supremes, Smokey Robinson & The Miracles, Dusty Springfield and Frankie Valli & the Four Seasons.

After the success of the 1st vinyl edition of Techno Club 25 years anniversary, Talla 2XLC and his ZYX team proudly present the 2nd vinyl edition including 12 trance classics in their full extended DJ friendly glory. Imagine on the same colored vinyl (gold and black) outstanding productions and remixes by Talla 2XLC, Terry Bones, DJ Kalpa, Paul van Dyk feat Plumb, John O’Callaghan, Chakra, Alex M.O.R.P.H., Lange & Sarah Howells, Aly & Fila, CRW, DJ Jamx & De Leon aka Dumonde, Markus Schulz and Tony-H. Finally has arrived the ultimate vinyl set of 12 eternal trance classics selected with love by Talla 2XLC and his Techno Club team. Add in your basket and purchase now this very limited edition colored vinyl set!

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

Japanese jazz and big band masterpieces re-released on clear green color vinyl!

Nio dances and pigeons dance. A mysterious melody that flows in a strong groove. Pursuing the possibilities of big band sound, this is the true essence of new hard and its climax.

New Hard, led by Toshiyuki Miyama, is one of Japan's leading big bands. Since the release of ``Perspective'' in 1969, they have opened up new horizons in big band jazz with their cutting-edge sound. This work "Niou to Hato" is one of the representative works of new hard released in 1972. Kozaburo Yamaki was in charge of the entire composition and arrangement, and deeply pursued one of his long-standing themes: "Japan." Japanese features, traditions, and scenes expressed through elaborate, multi-layered arrangements and performances. A profound and dynamic melody with a Japanese atmosphere that can be described as mysterious. Starting with "Seijinshiki," which is led by a strong groove, the album is lined up with songs full of deep flavor and great excitement. This is the true essence of new hard work and its climax.
text by Yusuke Ogawa (universounds/Deep Jazz Reality)

Bob Sinclar"s first album is considered as a classic of the French Touch. "Paradise" was acclaimed by the press and launched the DJ / producer"s international career. It includes the massive club hits "Gym Tonic (Thomas Bangalter Remix)" and "Ultimate Funk"

In March of 2023 Mercury Prize nominated composer & alto saxophonist Cassie Kinoshi premiered a commissioned suite of music in front of a sold out crowd at London"s Southbank Centre. She wrote the piece - gratitude - for her flagship large ensemble seed., in a special augmented formation that also featured turntablist NikNak and the London Contemporary Orchestra. Months later, Kinoshi passed the live recording to Dave Vettraino, who began the mixing process at International Anthem Studios in Chicago. Kinoshi and Vettraino then convened in November of 2023 at Livingston Studios in London to do final mixes and overdub additional sounds from members of seed.

With his new EP "Popcorn" the Italian rapper/singer Done chooses to hybridize his hip-hop roots, leaving himself influenced by house and new jack swing. Done's flow blends with the sounds of 909, 808, Korg M1, Juno 106, giving birth to a record with a strongly swingbeat heart but which also flirts with boogie funk and smooth jazz. Music produced by Francesco Fisotti feat. Andrea Rossetti, Issam Dahmani, Filippo Bubbico, Vincenzo Destradis.

Aural architect Skygaze follows his 2022 ‘Astral Trip EP’ for Flumo Recordings, offering an advanced fusion of house, broken boogie, and future jazz, with five brand new reinterpretations from the extended Flumo family.

Skygaze’s diverse sound, breaking down barriers between house and techno, broken beat, jazz, ambient, hip hop, jungle, and even esoteric IDM, has been showcased across a growing catalogue of releases across Guayaba records, Riverette, Flumo and Thirty Three Circular, and remixes for Ed is Dead and Contours & Yadava; earning the producer support from the likes of Mr. Scruff, Simbad, k15, Bandcamp’s Andrew Jervis, and Gilles Peterson.

Feted singer, musician and producer Alysha Joy, rising producer Divorce From New York, ones-to-watch, Footnote and Karmasound, and Skygaze himself under his Jailed Jamie guise, joined by Lorenzo Soria, put a new spin on ‘Astral Trip’, whilst staying true to the originals’ spirit.

The multi-talented Allysha Joy, of 30/70 Collective & LCSM fame, remixes ‘’Night Heat’’, enhancing the groove with broken beats and her undeniable first-rate vocals.

Jailed Jamie & Lorenzo Soria, reshape ‘’Gimme Five’’ with rough synths and jacking bassline driven “Think” beats.

Divorce From New York boosts the tempo and infuses ‘’Wagwan’’ with Latin rhythms, perfectly balanced by high-energy synth lines.

Italian producers, Footnote and SofaTalk, delve deeper into ‘’Minor Mood’’, adding softer, retro-infused sound structures in a broken boogie mould.

Barcelona’s Karmasound explores the ruminating nature of ‘’City Cathedratics’’ and its counterbalance between broken beat and house.

The diverse but complementary set of remixes is sure to move bodies on sophisticated dance-floors this year and shed further light not only Skygaze’s production but also his talent for melody and song-writing. A feather in his and Flumo’s bow.

DJ Support:

Ashley Beedle (Back To The World Records)

Bolam (Lobster Theremin)

Crazy P (Hot Toddy / 2020 Vision)

Dan Curtin (Mobilee)

Fouk (Heist / Toy Tonics)

Joshua James (XOYO, Glorias, Rinse)

Laurent Garnier (F Communications)

Severino / Horse Meat Disco (Strut / !K7 Records)

Speaking Minds (Circoloco, Italy)

At the same time that Neville 'Bunny Wailer' Livingston recorded his debut solo long playing masterpiece, 'Blackheart Man', he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now...,

It is next to impossible to ever overstate the importance of The Wailers to the history of Jamaican music and, as the last surviving member of the group, Bunny Wailer rightly regards himself as the sole keeper of their history ever mindful of the group's exalted position in the story of reggae music and the importance of their legacy. In 2010 Dub Store were proud to be able to work with Bunny on re-releasing a selection of his earliest recordings for the Solomonic label, lovingly restored and presented in reproduction sleeves and labels, on limited edition seven and twelve inch singles. Now, taking another step forward, we are more than proud to present Bunny's timeless music on two beautifully packaged CD's and double LP's. Bunny's first solo album, 'Blackheart Man' originally released in 1976 on his own Solomonic label in Jamaica and on Island in the UK, is one of the undisputed all time classics of Jamaican music and established Bunny Wailer as a highly respected, world renowned artist in his own right. During this period Bunny also produced a series of singles released in Jamaica and the UK in strictly limited quantities without the benefit of international distribution, that are every bit as good and, in some cases, even better than this awesome debut long player. Original copies have subsequently become highly prized, and highly priced, collector's items. "Classic rarities" is an overused and abused term too often employed to describe average records that failed to sell on their initial release but both 'Tread Along' and 'Rise & Shine' are packed from beginning to end with a searing selection of some of the greatest and hardest to find reggae records ever produced. 'Tread Along' opens, naturally enough, with 'Tread Along' from 1969, one of the last singles for The Wailers' own Wail N Soul M label, and runs through the first release on the Solomonic label, 'Searching For Love' also known as 'Search For I', 'Bide Up' released as 1974 drew to a close, a radical reworking of 'Pass It On' and a marked contrast to the version on The Wailers' 'Burnin'', album, 'Life Line' and the prophetic 'Arabs Oil Weapon' kept the pressure on as Bunny began outlining the flawless 'Blackheart Man' album. Each release was a certified classic in its own right. Peter Tosh's melodica version to Bunny's 'Amagideon' ('Armageddon'), the first track on 'Rise & Shine', is followed by 'Love Fire', an update of another Wail N Soul M track, 'Fire Fire'/'Babylon Burning', through to one of the deepest roots records ever created, 'Rise & Shine', on to 'Riding' from the 'Bunny Wailer Sings The Wailers' sessions (but not featured on the album) and a huge hit in the UK in 1981, and closing with 'Rule Dance Hall' from 1985. No idle boast..., The liner notes feature the story of The Wailers, as told to Dub Store by Bunny himself in Kingston in an enlightening 2012 interview, and rarely seen contemporary photographs complete these essential releases. The music of Bunny Wailer was not only a medium for change and protest but also to elucidate and educate and 'Tread Along' and 'Rise & Shine' finally complete the canon of un-compiled Wailers music. "I'm quite satisfied, you know, reggae music is the kind of music that although sometimes you would look at it and say..., boy, it's hard..., then again you look at what it has done for the people of the world you know that that couldn't be locked up in a little place like Jamaica!" Bunny Wailer

Africamore: The Afro-Funk Side of Italy (1973-1978)

Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.

Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered "Soul Makossa" by Manu Dibango. In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.


Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 – from psychedelic-tinged tunes like Jean Paul & Angelique's "Africa Sound" to the Afrobeat-inspired club banger "Kumbayero" by composer/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's "Amore", co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's "Why O", a re-write of Nat King Cole's "Calypso Blues" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.


Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.

This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.

Africamore is due out on March 22nd and will be available as a gatefold 2LP and digipak CD. Both formats come with stunning artwork by Kathrin Remest and liner notes by Pierpaolo De Sanctis and Elena Miraglia.

The debut full-length of Denmark's promising purveyors of truly Medieval Black Metal, Formed in 2020, Heltekvad is a three-piece featuring members of some of Denmark's finest recent acts such as Afsky, Solbrud, Sunken and Morild.

While the sound of Heltekvad certainly shares the passion on display in the aforementioned projects - no doubt a result of the shared members behind each entity - what sets them apart is their approach to songwriting and crafting truly medieval soundscapes. This is partially shown through the medieval instrumental interludes, which are tastefully scattered across "Morgenrødens Helvedesherre", but more fully embodied by the epic, at times even heroic sounding melodies carried by the guitars. There is an element of unbridled wilderness to be found on these seven tracks, each one containing interesting twists and turns that are sure to keep listeners returning for repeat listens.

Beside Trawbreaga Bay, in Co Donegal, on the north coast of Ireland, in an old schoolhouse, with a suitcase full of hired recording gear, Oisin Leech strums gently on an acoustic guitar and watches the tide pull the water away from the ancient inlet - The thickness of Oisin's voice soothes the room as the sound waves bounce around in the land where his ancestors still live and still wander - With a musical history that led Leech from the street punk bands of yesteryear through an ongoing stint with folk duo The Lost Brothers, he found himself for the first time working on songs to sing alone. In his mind, the songs became imagined vignette films playing behind closed, guitar eyes. After writing nearly 40 new songs in this fashion, Leech wrote "October Sun" which would become the foundation for his debut solo record, Cold Sea.

Cold Sea was produced by guitarist/songwriter Steve Gunn. Leech dreamt of making the record in Donegal Ireland, a county significant to him because it is the home of his ancestors. Pitching this idea to Gunn sparked the first of several serendipities circling the Cold Sea sessions - Gunn had always wanted to visit Donegal to connect with his own familial roots in the region.

Cold Sea is perhaps most notable for its tremendous warmth. Each song was recorded in a few takes and adorned gently with synthesizers and guitar from Gunn. Several songs feature contributions on the upright bass by Bob Dylan band stalwart Tony Garnier. M. Ward plays guitar on October Sun and there are strings by Roisin McGrory and bouzouki by the legendary Donal Lunny throughout. It is a friendship record but even at its most collaborative, Cold Sea remains centered around the humble acoustic guitar and wool blanket vocals of Leech.

The new album from American doomed dark metal veterans GREY SKIES FALLEN “Molded By Broken Hands” will see its release on March 8th. This release date will coincide with the 25th anniversary of the band’s debut album “The Fate of Angels”.

“Molded By Broken Hands” will see the long-running contingent deliver their most triumphant work yet and is an album that carries that feeling of the underappreciated and underrated dark metal scene that was culminating in the US during the late ‘90s), an era where GREY SKIES FALLEN grew from, while helping to signal a new resurgence of doomy-dark metal artistry currently building.

Through soaring, emotionally searing melodies, glorious epic harmonics, and with an overall conquering aura, “Molded By Broken Hands” will finally deliver the recognition GREY SKIES FALLEN are worthy of.

“Modled By Broken Hands” was recorded and engineered with all keyboards provided by Colin Marston (Krallice, Gorguts) in the Thousand Caves and was mixed and mastered by legendary Swedish producer Dan Swano (Edge Of Sanity). It also features artwork and design by Travis Smith (Opeth, Katatonia).

Track Listing: 1. A Twisted Place in Time, 2. Molded by Broken Hands, 3. No Place For Sorrow, 4. I Can Hear Your Voice, 5. Cracks in Time, 6. Save Us, 7. Knowing That You’re There

The new album from American doomed dark metal veterans GREY SKIES FALLEN “Molded By Broken Hands” will see its release on March 8th. This release date will coincide with the 25th anniversary of the band’s debut album “The Fate of Angels”.

“Molded By Broken Hands” will see the long-running contingent deliver their most triumphant work yet and is an album that carries that feeling of the underappreciated and underrated dark metal scene that was culminating in the US during the late ‘90s), an era where GREY SKIES FALLEN grew from, while helping to signal a new resurgence of doomy-dark metal artistry currently building.

Through soaring, emotionally searing melodies, glorious epic harmonics, and with an overall conquering aura, “Molded By Broken Hands” will finally deliver the recognition GREY SKIES FALLEN are worthy of.

“Modled By Broken Hands” was recorded and engineered with all keyboards provided by Colin Marston (Krallice, Gorguts) in the Thousand Caves and was mixed and mastered by legendary Swedish producer Dan Swano (Edge Of Sanity). It also features artwork and design by Travis Smith (Opeth, Katatonia).

Track Listing: 1. A Twisted Place in Time, 2. Molded by Broken Hands, 3. No Place For Sorrow, 4. I Can Hear Your Voice, 5. Cracks in Time, 6. Save Us, 7. Knowing That You’re There

After years out of press, Motorpsycho's 2001 masterpiece is back in stock on vinyl! Originally released in 2001, Phanerothyme was a brave sidestep in the band's career. By embracing 60's psychedelic pop sensibilities and turning down their heavier, grungier tendencies, Motorpsycho displays another of their seemingly endless facets. After many years out of press, Stickman Records is proud to finally offer an updated version of this LP! Features include: • 180gr. black vinyl pressed from brand new lacquer cut • reconstructed from the original master files by Helge Sten • revamped cover art • heavy duty inside-out printed cover • printed inner sleeves and color insert

“Refuse”:
A unique sound that could be described as “Breakbeat Soul" O.Love's instruments and vocal prowess take centre stage, showcasing a fusion of live instruments & soulful vocals re-arranged and remixed with original breaks and beats by DJ DSK!

"Tonight":
A catchy rootsy original reggae tune, featuring lyrics that exude positivity and soulfulness. It receives the remix treatment from DJ DSK, who infuses it with heavy beats and luscious dub elements. The result is a speaker-shaking, dancefloor rocker!

Limited to 300 Hand-Numbered Copies Pressed on White, Black and Red Splatter Vinyl OT The Real & araabMUZIKís new collaborative album Zombie is now available as a limited edition vinyl release. The 12-track project, released through Black Soprano Family records, was executive produced by Benny The Butcher and features appearances by several Black Soprano Family members. The BSF boss has been a fan of the Philadelphia based rapper since they met while recording “Coke & Guns” (off the album Broken Glass) and when he had the chance to put together a full project with OT and the MVP of the MPC, Benny seized the opportunity, bringing both OT and araabMIUZIK out to the BSF studio in Buffalo to record what would ultimately become “The Crown,” the first single off of Zombie featuring Benny The Butcher & ElCamino. The guest appearances on Zombie were carefully curated, purposefully tapping artists that hadn’t yet collaborated with OT (outside of Benny) and araabMUZIK in order to deliver something new to fans, including 38 Spesh, Conway The Machine, ElCamino, Rome Streetz, LIHTZ and Amir Ali.

The cheekiest band in the land is back with ROCKMAKER, The Dandy Warhols' 12th studio album. Produced and recorded by the band at their studio/funhouse The Odditorium in Portland, OR, ROCKMAKER sees the "Bohemian Like You" hitmakers celebrate their 30th year together with a sprinkle of glitter on their grime. Accompanied by guests Debbie Harry, Slash, and Pixies' Frank Black, The Dandy Warhols wrangle paranoia, untangle anxious discontent, and lust after life while the dance grooves go deeper, heady drones get weirder, and riffage fit for bong rips hammers. ROCKMAKER is the Dandy's clearest statement yet, at no sacrifice to their outré leanings. This is the sound of outsider alt-psych fixtures looking in as the walls come down.

Rockmaker by Dandy Warhols, released 15 March 2024, includes the following tracks: "Teutonic Wine", "I'd Like To Help You With Your Problem (Feat. Slash)", "Root Of All Evil", "Love Thyself" and more.

This version of Rockmaker comes as a 1xCD.

Die Stimme von Creed! - Das mitreißende neue Album des Grammy-Preisträgers SCOTT STAPP!
Der mehrfach Grammy-Award-Nominierte und -Gewinner SCOTT STAPP setzt seine triumphale Rückkehr als Solo Künstler fort und veröffentlicht am
15.03.2024 sein brandneues Album Higher Power via Napalm Records. Als eine der bekanntesten Stimmen der Rockmusik ist Stapp "bereit für
ein großes Jahrzehnt. Er kling genauso kraftvoll wie vor 25 Jahren und enthüllt die Härte, die in seiner ikonischen Stimme ruht (Loudwire). Das
kommende Album ist der Nachfolger des 2019 erschienenen The Space Between the Shadows, das neben unzähligen weiteren Top-Chartpositionen
auf Platz 3 der US Current Rock Albums Charts, der US Current Hard Music Albums Charts und der UK Official Rock and Metal Charts einstieg. Higher
Power besteht aus 10 unvergesslichen Tracks – darunter absolute Radio Hymnen, gefühlvolle Balladen, absolute Metal Banger und Heavy-Rock Hits –
und besticht durchweg mit Brillanz und inbrünstiger Energie. Dabei werden Themen wie Verlust, Frustration, Verrat und Beinahe-Niederlagen
besprochen. Neben SCOTT STAPPs unverkennbarem Gesang und seinen herausragenden Songwriter-Fähigkeiten bietet Higher Power bestechende
Auftritte der Hardrock-Queen Dorothy, des mehrfach ausgezeichneten Gitarren-Virtuosen Yiannis Papadopoulos und einen Song den der mehrfach
Grammy-prämierte Songwriter und Musiker Steve McEwan mitgeschrieben. Higher Power wurde von Marti Frederiksen und Scott Stevens produziert,
wobei Stapp selbst als Co-Produzent

Lisbet Fritze and Louise Foo have shared artistic trajectories for half of their lives, having been two thirds of pop noir purveyors Giana Factory. As Glas, the duo reveals a patchwork of everyday observations rooted in significant life changes: moving countries, becoming a mother, keeping sane with and without a significant other. The music conveys a quest for balance, riding the line between doomy drama and playing it cool.

Their 10 song, self-produced debut, Kisses Like Feathers, will be released, worldwide in March 2023, through Hamburg’s hfn music. All lyrics, vocals and instruments were performed by Glas, and recorded in their studio. The album was mixed by Anders Trentemøller, with artwork by Brunswicker studio The Copenhagen-based duo have never been short on inspiration. Lisbet has lent her vocal and guitar talents to Trentemøller, in both the studio and on stage. Louise has explored immersive music with avant-pop project SØSTR, along with her sister, Sharin Foo of The Raveonettes. Lisbet’s other life involves architectural design. Louise works with sound installations in a visual arts context. The musical ideas of these two polymaths find coherence in the newly-formed Glas.

Kisses Like Feathers embody Nordic duality. Dark at times, it also presents with an open ethereality. Some songs feel tailor-made for a club’s sound system. Others lend themselves to intimate, headphone moments. While Lisbet and Louise’s harmonious vocal stack is the common thread throughout the album, the musical fabric is interlaced with acoustic, electric, and electronic instruments. Lo-fi piano and acoustic guitars share a reciprocal space with rich, synthetic orchestration. Galloping, modern rhythms and folk arrangements are often featured in the same song. These elements, and so many others, buttress the pair’s hymns.

Dark Horse Records is re-releasing the legendary Joe Strummer & the Mescaleros live concert at Acton Town Hall, remastered by Grammy award-winner Paul Hicks (The Beatles, The Rolling Stones, George Harrison) on double black vinyl. The concert, recorded on November 15, 2002, was a benefit for striking firefighters and was one of Joe's last performances (he died a month later).

Part of the performance was a reunion with Mick Jones, Strummer's former bandmate from The Clash, who reunited with Strummer on stage for three songs for the first time in almost twenty years. It was also the last time they were on stage together.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with "Salt", her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut "Dust" in 2020, "Salt" takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. "Salt" features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl and the renowned artist DM Stith.

The "Dust" has settled. After having recorded her solo debut of that name, in 2020 the world came to a grinding halt, leaving Marla Hansen left to her own devices in her adopted home of Berlin. For Hansen, who previously had lent her talent to many creative minds such as The National, Sufjan Stevens, The Hidden Cameras, Jay-Z and Ravi Coltrane, the collaborative aspect of writing and producing music had always played a crucial part in finding her own path as a solo artist.

"I started to explore synthesizers and electronic production myself," she remembers of the time when meeting other musicians in person was out of the question. "I am proud that I accomplished many of the electronic elements of the new album by myself, and otherwise laid the groundwork for the final electronic structures through my own experiments. I always wanted to record a 'big' record, one that has a lot of power and sound, and this one is 'bigger' than anything I have done so far."

"Salt" is big, indeed. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. If This Mortal Coil/The Hope Blister were ever to record another album, these songs should be high up on the shortlist of tunes to pick. "The One Time" - a duet with Hansen's long-time friend DM Stith - gently meanders between a Philip Glass-inspired piece for chamber orchestra and a vocal ensemble performing on Top Of The Pops. In this range of styles and approaches, Hansen's vision is more present than ever.

For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling."

But what are songs actually about? "The themes revolve around a feeling of being trapped. Having to stay inside during the pandemic, with all the silence and stillness coming with it. Simultaneously, I was caught up in a professional situation that was not working for me, yet it required a lot of energy and time. I was thinking a lot about how to break old habits and patterns. Patterns in my life, patterns I saw my friends and loved-ones stuck in. There are a lot of ways that people can be trapped, and breaking out of that requires a lot of courage and energy - on all levels. The title 'Salt' seemed to fit, ocean themes showed up naturally in some of the songs, and I thought often about the quote: 'The cure for anything is salt water: sweat, tears or the sea.' Maybe I was just dreaming of the ocean, since it was inaccessible for the first time! But I wanted a cure for this feeling of being trapped, in a time of uncertainty and anxiety, salt as a remedy seemed to have some truth in it: sweat, tears or the sea."

Perseverance and the urge for freedom prevailed in the end. "Salt" is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.

The music Charles Mingus and his group recorded during his landmark 1960 sessions for Candid Records produced three of the most revered jazz albums of the era. INCARNATIONS is a new masterpiece thoughtfully assembled from rare and unreleased material from those sessions that stands proudly in the Mingus canon of masterworks. All but one of the tracks here are from the November 11th, 1960 sessions Mingus and producer Nate Hentoff put together. The date was split into two halves: one a pure Mingus-led date, featuring a six-piece band that expanded into an octet for two additional tunes, and another, a partial reunion of a collective that had assembled in opposition against George Wein’s Newport Jazz Festival that past July. (That collective, calling themselves The Jazz Artist Guild, would release the album Newport Rebels, on Candid in 1961.) Of special note here is the one track recorded during the Mingus October 20th 1960 sessions. It is a previously unreleased track titled “All The Things You Are (All.)” Found on a tape that contained material from both of these fall 1960 dates, the piece has its roots in an Art Tatum rendition of “All the Things You Are,” which Mingus had recorded before in various settings. Featuring Booker Ervin, Eric Dolphy, Charles McPherson, Ted Curson Lonnie Hillyer, Roy Eldridge, Jimmy Knepper, Britt Woodman, Tommy Flanagan, Paul Bley, Dannie Richmond and Jo Jones. With audio restored and remastered by Bernie Grundman, and liner notes by Pitchfork and New York Times contributor Hank Shteamer, this album is a must have for any Mingus fan.

Under the influence of his punk loving father and cabaret / comedy performing mother, Janek moved from singing in his school choir to learning to play drums and piano. Now, as well as producing music under his own name, Janek is also one of the founding members of the Neukolln based outfit Liquid Brain Orchestra, and one half of off-kilter duo Tutu Amuse with guitarist, vocalist and actor Rosa Landers. Janek"s debut solo album "Circle Of Madness" is a record that is best described by himself as a snapshot of "something at some point" and encourages the listener to "stay curious while trying to maintain a balanced and non toxic relationship with perfectionism on this discovery of new land through music, channelling self expression and learning".

The album features the offbeat unworldliness of the single, My Tentacles and the mesmeric standout track, Think Like a Swarm, reminiscent of Laurie Anderson's art meets pop music sensibilities. The album bristles with quirky, dysfunctional beats and chimeric fusions. Her Tentacles are truly her own, for this free-spirited
champion of outsider art pop.

The album features bass by Teitur Arnason & Renell Shaw, acoustic guitar & backing vocals Sam Carter, electric guitar by David Cunningham, Viola by Ella Burch, Cello by Francesca Ter-Berg & Lucinda Skinner, Trumpet by Eddie 'Tan Tan' Thornton.

Recorded / Mixed / Produced by Mieko Shimizu & Peter Morris at Street Furniture Studios, Soho, London. Mastered by Keith Tenniswood at Curve Pusher My Tentacles by Mieko Shimizu will be re- released on 13th March 2024 on Street Furniture Records.

It was originally released in 2011. This digitally remastered version has been repackaged with new designs by We Are Noisy.

Das Londoner Electro-Pop-Duo Strange Boy präsentiert - nach bemerkenswerten Kollaborationen mit Terry Riley, Nils Frahm, Clark, Squid, Jeremy Deller und Aurora - auf seiner Debüt-LP 'Love Remains' eine Welt voller Symbolik, Erhabenheit und Verbundenheit, entstanden aus den kühnen Erzählungen von Sänger/Songwriter Kieran Brunt und den atmosphärischen Klanglandschaften von Matt Huxley. Die intim-reflektierende Art des Geschichtenerzählens wird in der lofi-Vocalproduktion mit üppigen Streichern, 'November Skies' feat. Anna B Savage, deutlich, während Blunt seine Liebe zu James Blake, Anohni & The Johnsons und The Magnetic Fields mit einer Coverversion des Kultsongs '100,000 Fireflies' unterstreicht, die er in einem einzigen Take aufnahm und über gefundene Tonbandaufnahmen legte, die er mit halber Geschwindigkeit rückwärts abspielte.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group's swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band's sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits' playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity's definitive-sounding set also brings into transparent view Knopfler's finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here's a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler's decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era's prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler's clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group's oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It's evident in the humorous satire of "Heavy Fuel," closeted desperation of the witty "Calling Elvis," and shake-and-bake bounce of "The Bug." It pours from the album's darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of "When It Comes to You."

Hinting at the open-minded approaches and boundless curiosity he'd embrace as a solo artist, Knopfler doesn't limit himself when it comes to style or subject matter. Look no further than "You and Your Friend," a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album's deep cuts, "Iron Hand," comes on as one of the band's most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners' strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

"Every victory has a taste that's bittersweet," sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

In 2005, an 18-year-old Raphael Gimenes left the sunny shores of Brazil behind, embarking on a journey to a distant and wintry land. "Dinamarca," the Portuguese name for Denmark, became his new home, where he has lived for almost two decades. Today, he presents his third album, a deep exploration of his life in Scandinavia. Rather than being a nationalistic tribute, "DINAMARCA" tells chapters from Gimenes" life story as a Brazilian living in the northern corners of the world. It guides us through the enchanting nordic woods, the vast fields stretching to the horizon, and the timeless sea resting beneath an endless sky. The melodies of blackbirds, the dances of red deer, and the whispers of ancient oaks form the backdrop for his musical stories. Within his songs, we experience moments of deep solitude and boundless inspiration, moments where reflection and creative passion intertwine. Gimenes skillfully turns the power of love into harmonies, dedicating songs to both his companion and his closest friends. Beyond these experiences, he leads us on journeys to Denmark"s neighboring lands, Norway and Sweden, where revelations and encounters with the mystical found their way into the lyrical fabric of his songs. The album"s orchestration includes Gimenes" vocals and the resonant chords of his classical guitar. Accompanying him throughout the album are Jan Kadereit"s multilayered percussion, and Lucas Delacroix"s bass synth, who also plays the electric guitar at times. The music further unfolds with the nuances of a string quartet, and a brass quintet, both recorded in the tropical highlands of Minas Gerais. Other guest musicians feature on individual songs, such as pianist Sebastian Macchi, flautist Flavia Huarachi, cellist Lucas Almeida, and singers Gaby Echevarria, Cecilia Pahl, and Cris Ferro. Gimenes has garnered acclaim and accolades across continents. His debut release, "Raphael Gimenes & As Montanhas de Som," delved deep into the rhythms and traditions of Brazil. It rose to prominence as the top Brazilian release in 2016 in Holland and was hailed as a "conceptual masterpiece" in Japan. His second album, "A Tongue Full of Suns," co-produced with Faroese multi-artist Teitur, ventured into the English language, blending Gimenes" inspirations from the world of prog-rock. Danish rock legend TimChristensen praised it as "top-shelf neo-folk," while Brazilian website80minutos described it as "hypnotizing." The music within "DINAMARCA" delves deep into the soul of a man who embraced a new land with open arms, while staying true to his roots. It unites elements from both of Gimenes" prior works, embarking on a journey across new musical horizons. The result is music that transcends borders, weaving itself into an intricately beautiful tapestry - a soul that has learned to harmonize with two worlds.

Warehouse Find!

Following the sold out Theo Parrish remix of Marcos Valle's '1985', here's the second in Far Out's Brazilika 12" with three scorching remixes from UK dance veteran Ashley Beedle. Three peak time excursions into percussive, soulful house on a stylish, cosmic Brazilian party tip.

Following the sold out Theo Parrish remix of Marcos Valle's '1985' back in April, the second release in Far Out's Brazilika 12' series features a highlight from Sabrina Malheiros' 2011 album 'Dreaming': the blissed-out, sun soaked samba classic 'Opara', which gets three scorching remixes from UK dance veteran Ashley Beedle.

Currently celebrating a decade since the release of her critically acclaimed debut album 'Equilibria', Sabrina Malheiros has remained at the forefront of modern, soul-infused Brazilian music. Growing up in Rio, the daughter of Alex Malheiros, bassist of Jazz-funk pioneers Azymuth, Sabrina has taken the legacy of samba and bossa nova and forged her own forward-thinking path, taking with her all the style and substance of the early days.

Produced under his Afrikanz On Marz moniker, Beedle's remix brings all the right elements of the original to the fore. The result is three peak time excursions into percussive, soulful house on a stylish, cosmic Brazilian party tip, infused with rich, warm rhodes, synth and flute throughout.

The vocal mix on the A side provides a spacious backdrop of twinkling keys and buoyant percussion to Malheiros' gently floating strains. The other mixes offer similarly floor-focused variations: the aptly titled 'Galactic Flute Remix' on the flip pairs the titular wind instrument with a deeper groove that retains the loose-limbed appeal of the original, plus a bonus instrumental to boot. A sure fire heat bringer and certainly one of the most colourful dance 12's we've heard this year.

The Brazilika 12' series is the new vinyl home to the previously unreleased dance exclusives taken from the Spiritual South mix on CD2 of Far Out's 20th anniversary double compilation, released in May 2015.

Japanese alt-rock band BO NINGEN are delighted to announce they will be releasing an alternative soundtrack album to cult director Alejandro Jodorowsky's seminal film 'The Holy Mountain', set for release on 15th March 2024 via Alcopop! Records on double CD and a limited box set of triple vinyl, each in their own unique colour In partnership with Deeper Into Movies, the band will also be hosting a very special live performance of their alternative soundtrack at EartH, Hackney on 1st March 2024 --a 700 capacity tiered seated venue with original Art Deco features and state of the art L-ISA sound system, to provide the best possible experience of this must-see-and-hear event.


Commenting on the release, Kohhei Matsuda (guitar/synth) and Monchan Monna (drums) said: "We wanted to make something more than 'a band jamming to the film' live score. To do so, we tried to decipher the secret of Jodorowsky's alchemy to reach our own Holy Mountain, reflecting the underlying structure of the film-- which is delusional at sight, yet mystically logical throughout--in each stage of the music. It was quite an experience to work on the piece that way, diving deep into the director's vision where the border between the reality, delusion, the film, and real life blurs. Trying not to drown in it all, we had to find our own path back to our own version of reality. This is an aural representation of our own version of the film. We hope each of you find your own way to your own version of The Holy Mountain through reliving this mind-altering journey with us."
The band originally performed their alternative soundtrack to the film 'Holy Mountain' in July 2019 for 2 sold out nights at the Rio Cinema in Dalston, where it was nominated for 'Best Event Cinema Campaign Of The Year 2019'. During the brief latter periods of the pandemic when the band were allowed to travel internationally between London and Japan, BO NINGEN at last managed to reconvene as a unit in London to finally commit the soundtrack to record.

Before coming to Europe, in 1970, pianist Manuel Villarroel was a vet in his native Chilli. A few years later, as leader of the Machi Oul Big Band, he returned to the animal kingdom. A very specific kind of animal, for sure, the Quetzalcoatl, also known as the Feathered Serpent. What is behind this title (also the name of one of the three original compositions on this album released on the Palm label in 1976), is first and foremost a sort of homecoming...

After discovering the jazz of Herbie Hancock, McCoy Tyner, Miles Davis and John Coltrane, Villarroel was taken by the free jazz which was all the rage at the time in America and Europe, and this would inspire the first version of his Machi-Oul, project. This was a septet, with which the pianist would record, in 1971, the tremendous Terremoto (re-released by Souffle Continu FFL085). After this masterstroke Villarroel was invited to record with Perception (Perception & Friends) and with Baikida Carroll (Orange Fish Tears). While these were notable contributions, Villarroel was already looking into other combinations.

“I had to deal personally with my situation as an expatriate, without disavowing it. I tried not to betray my roots, I tried to translate into my music what was essential to me, to reflect my origins – Latin America, its musical and above all human feelings – while remaining faithful to jazz, which is the mode of expression of the musicians in the group”. This then is the ‘homecoming’ we mentioned, which would incite Manuel Villarroel to compose what he would call “structured free music”. In January 1972 the pianist enlarged his formation to reach the size of a real big band: the Septet became the Machi-Oul Big Band. Three years later in January 1975, with producer Jef Gilson at the helm, fifteen musicians including those from the old Septet (Jef Sicard, François and Jean-Louis Méchali, Gérard Coppéré) worked on a rare form of jazz. From togetherness to dissonance, we danse to it “Bolerito” then shake it up on “Leyendas De Nahuelbuta”. As for the concluding serpent, it is a piece which is impossible to pin down: “Quetzalcoat” is as impressive as it is difficult to grasp. To remind ourselves of this, lets listen to it again.

Immerse yourself in the enchanting world of 'Perfections', Koralle's new EP, now available on Little Beat More!

Koralle, aKa Lorenzo Nada, musician, beatmaker and producer, formerly an underground legend under the moniker Godblesscomputers, returns to put his 'hands in the dough' a few months after the release of his third album 'Insomnia', fusing jazz vibes with the elements that characterise the deep roots of hip-hop in four stylish pearls that capture body and soul in an increasingly intimate dimension.

Listening begins with the EP's title track, "Perfections," a perfect chill awakening, accompanied by fleeting piano notes and a bass drum and snare rhythm in the tradition of the beatmaking masters.
The second track, "Leaf," hints at melancholic and mysterious nostalgic undertones, to be followed by the single "From the Heart," which features the extraordinary participation of Brooklyn lyricist Awon, a mainstay of American jazzrap, who fits in perfectly with Koralle's eclectic sound world.
Finally, the fourth track, 'Come Back to Me Baby,' is a homage to the blues and black music roots of the 1950s, an invitation to rewind the tape and listen to the album all over again.

The EP is enriched by the art of Bernardo "Beerbo" Raspanti: a brightly coloured and variegated coral that tells of the different influences that come together in the artist's work and of a profound and engaging musical experience that will enchant connoisseurs and fans of the noble art of beatmaking.

Immerse yourself in the enchanting world of 'Perfections', Koralle's new EP, now available on Little Beat More!

Koralle, aKa Lorenzo Nada, musician, beatmaker and producer, formerly an underground legend under the moniker Godblesscomputers, returns to put his 'hands in the dough' a few months after the release of his third album 'Insomnia', fusing jazz vibes with the elements that characterise the deep roots of hip-hop in four stylish pearls that capture body and soul in an increasingly intimate dimension.

Listening begins with the EP's title track, "Perfections," a perfect chill awakening, accompanied by fleeting piano notes and a bass drum and snare rhythm in the tradition of the beatmaking masters.
The second track, "Leaf," hints at melancholic and mysterious nostalgic undertones, to be followed by the single "From the Heart," which features the extraordinary participation of Brooklyn lyricist Awon, a mainstay of American jazzrap, who fits in perfectly with Koralle's eclectic sound world.
Finally, the fourth track, 'Come Back to Me Baby,' is a homage to the blues and black music roots of the 1950s, an invitation to rewind the tape and listen to the album all over again.

The EP is enriched by the art of Bernardo "Beerbo" Raspanti: a brightly coloured and variegated coral that tells of the different influences that come together in the artist's work and of a profound and engaging musical experience that will enchant connoisseurs and fans of the noble art of beatmaking.