Buscar:the frank

The Jak has returned with 2 new Dirty bLends in extremely limited quantity.

Introducing nU cOhort to the label:

The Falcon(a silent assassin)

this new artist alias to the label has contributed to the further effort
of maintaining the sound from the early inception of chicago tracks like the days of old that still lives and breathes in us today that honors and treasures enriched essential dance music history.

DirtyBlends Edition 7 both sides IZ straight HEAT!

The Jak kicks the A-Side into madness with a Jakbeat blueprint of energetic electronics and various bass lines on this obscure creation honoring Ron Hardy, Frankie Knuckles and Farley that resonates a confrontational question repeatedly saying “Who said i can’t beat U for the title track ‘An Offbeat Formation of Control’

The Falcon Flys fiLthY iLL on the B-Side wit a whiPLash idea influenced from Chicago’s south-side of rhythm styles Paul Johnson and Chip E!!! made 2 Jak 4 Crazies that is truly Definitive Jakbeat.

Einstürzende Neubauten producer Boris Wilsdorf, Karl O’Connor aka Regis and MY DISCO's Liam Andrews assemble as EROS, bottling no-wave/industrial lightning with a tight set of pulverized, widescreen torched-songs that rasp, grate and throb somewhere between This Heat, The Cure, Cabaret Voltaire, Alva Noto x Pan Sonic.

An industrial fantasy of flesh and steel, ‘A Southern Code’ is the stunning continuation of the trio’s work at Wilsdorf’s pivotal Anderesbaustelle studio on Regis’ watershed album, ‘Hidden In This Is The Light That You Miss’. Rejoined by another key muse, Anni Hogan, and Einstürzende Neubauten’s Jochen Arbeit, they effectively galvanised a new band, EROS, during long days and nights in the studio across 2020 and into 2021. The sound they make is fiercely lean, shaped by Wilsdorf’s manacled mixing and anchored in the frankly sexy as f#ck swerve of Regis vocals and his snake-hipped rhythm section.

The first songs issued from those sessions form a lustrous new high point of contemporary industrial and dance music, one porous to Kurdish dabke as much as archetypal goth, pulsing with a metallic bloodlust and spatialized by Wilsdorf’s genre-forming tekkerz in a way that seriously rewards with proper amplification. Judged on its immediate merits, it’s the sort of record that could have feasibly come out at any point between the ‘80s and now, but closer inspection reveals a discreet framework of sculpted subbass and sleekly rolling traction that betrays the modernity of minimalist D&B physics and up-to-the-second sound design that places ‘A Southern Code’ in a timeless echelon.

Registering the venomous drums and over-the-shoulder whispers of its title track, plus the incendiary middle eastern horns of ‘The Crawling Man’ - a real parallel dimension take on The Cure’s ‘The Top’ - to the post-apocalyptic lounge lizard styles of ‘In This Place’, and the unheimlich creep to ‘Nature Unborn (From Sun to Sun)’, the band’s first album plants a vital stake in the ground for industrial musick at the crest of a new decade.

Transversales Disques proudly presents Ahmad Jamal Trio, Live in Paris 1971. Never heard before ORTF recordings performed live at studio 104, Maison de la Radio, Paris. This is the first official release with the full permission and cooperation of the National Audiovisual Institute (INA) coming in a Deluxe Edition - Classic Tip-On Jacket. Including exclusive pictures. Mastered from the original master tapes.

« While be-bop musicians practise one-upmanship in terms of speed, Ahmad Jamal develops a crystal-clear touch and praises silence: "I was an angel among devils! The boppers made notes explode. I let them resonate until the end of their lives".
A reputation as an artist on the fringes perhaps explains this lack of fame he suffered at one time. But despite the great whirlwind that is his life, Ahmad Jamal declares that he is searching for peace: "The quest is that of musical and internal peace. I cannot acknowledge that I am at peace, it would be dangerous to show it. A man at peace with himself doesn't say so".

If you cannot say it, you can hear it, especially during his first concert in Paris in a trio. Here we are transported to the upper echelons of the art of the trio: the master of the piano, in studio 104 of Broadcasting House, is surrounded by brilliant accomplices, Jamil Nasser on double bass and Frank Gant on drums... » (Jérôme Badini, France Musique).

By freeing himself from the labels that have made D.L.i.d.'s career, Casini turns to more pointed and experimental sounds, he is now part of a purely electronic current, at the electronic current, at the crossroads of the influences that have forged his unique musical identity. For this adventure, the objective is simple: to let the creativity of its author take him to where he where he wishes it. From Trap to house through more hybrid styles, he lays his deep and catchy voice on 6 tracks that will be unveiled one after the other in the heart of an evolving EP.

If you ever wondered what ambient music of the 21st century could sound like, then you should explore the musical spheres of "ifsonever". This colorful debut-album draws a blueprint of an urban ambient club record of a parallel universe. A collage of beautifully improvised pieces, strictly recorded in "one takes". A gripping fusion that brings together the warm analog textures of classic vintage synthesizers and electronic urban ambiences.

Trying to appreciate the recent times of silence and deceleration, Daniel Helmer aka ifsonever has quickly developed a tonal language as a solo artist. With a non-compromising approach he would visit his studio, a cozy garden shed, to record one new track a day in strictly analog fashion as "one takes". His aim for this project was to capture the innocence and instinctive creative energy of the present moment. These 9 timeless pieces invite the listener to explore hypnotic and meditative atmospheres such as on the opener "transpose" or on "jonesy dreams of birds", as well as gloomy and almost mystical sounding tracks such as "total global" or "an unexpected error has occurred". ifsonever is a wonderful amalgamation of organic, laid-back sounds and electronic, club oriented elements.

Recorded at a time when social contact was forbidden and culture was at a standstill, many professional musicians felt challenged not to feel useless when performances and sessions in public were cancelled, while the need for expression, participation and communication persisted. What happens when you've read all your books, when you're tired of looking at screens, and when you're digitally saturated? Then the unbearable lightness of being will begin. Daniel Helmer decided to let his creativity flow into a picture depicting that moment in time. He gave himself the opportunity to reflect this period through the creation of music. Not always an easy thing to do when the only social interactions would be cats passing by or the sound of children playing nearby. However that can be exactly the perfect tranquil surrounding to ground oneself in the here and now and draw inspiration from the inside. This self titled album reflects a peaceful journey from start to finish.

Two old friends have been invited to contribute overdubs in hindsight. MillianX is a film composer and noise artist, a colleague from the viennese filmacademy. Both worked together on the film score for the science fiction movie "Rubikon" while the album was in its final stages. So a collaboration was an obvious choice. The creamy arpeggiated synthline created for "jonesy dreams of birds"' was extended by Millianx with some field recordings and a big cloudy synthwave that dips into a vast sea of noise.

Guido Spannocchi is a london based jazz musician. Both knew each other for several years but never had the chance to work together. When Daniel Helmer wrote "an unknown error has occured" he imagined a saxophone layer to accompany the existing synthline. But when the two musicians finally got together to record in the legendary jazz club "Porgy & Bess", Guido just let his creativity flow and jammed freely to the track with a totally unique jazz vibe.

Between film, music & sound Daniel Helmer is continuously searching for a spot to call his own. Expanding boundaries, pursuing the unheard and breaking genre definitions are byproducts of his curiosity and his drive to avoid repetition. Daniel Helmer resides in Vienna where he studied at the local film academy. He became one of the founding members of the techno-punk band "Gudrun von Laxenburg" with album releases on the legendary Skint label, collaborated with Sam Irl on "International Major Label" as the production duo "Mantra Mantra" and released an album as "Yogtze" on Gerd Janson's imprint "Running Back Incantations", together with Feater. At the moment he is focusing on his work as a film composer and is currently working on two feature films in Austria.

"ifsonever" offers a timeless ambience to help you slow down, reflect and enjoy the beauty of nothingness. It might help us to learn and accept a state of being unutilized without feeling futile and benefit from this rare silence.

The cover artwork is a collaboration between Jazz & Milk graphic designer Tim Schmitt and photographer Frank Hulsbömer. A scan of the artist's head, hand and foot was 3D printed, photographed and transformed into an otherworldly scenery that visualizes the musical atmosphere.

Overview:

With a career spanning over fifteen years, Dragonette, who is Martina Sorbara, has scored numerous global hits including "Pick Up the Phone," "Let it Go," "Tokyo Nights" with Digital Farm Animals and Shaun Frank, “Outlines" with Mike Mago, “Slow Song” with The Knocks, and the chart-topping “Hello" with Martin Solveig, which garnered a JUNO Award win for 'Dance Recording of the Year’ and returned to the Billboard Dance Charts just last year.

With Twennies being released on 28 October, Dragonette moves into the newest chapter of her illustrious career, looking forward with more wisdom, experience and confidence than ever before, creating her best work to date. Twennies marks a full-circle moment for Dragonette. “It’s a true hybrid of my original influences as a child and what I’ve learned along the way. It feels so representative of my musical journey.” She adds, “It’s my favorite thing I’ve ever done. I’m so proud of it.”

As a songwriter her credits include Keith Urban, Cyndi Lauper, Pretty Sister, and Carly Rae Jepsen, among others. Collaborating with the world’s biggest DJs including Martin Garrix, Basement Jaxx, Kaskade, Galantis, and more, Dragonette’s musical diversity knows no bounds.

RESTLESS SPIRITs zweites Album, "Blood of the Old Gods", wurde vom bekannten US-Metal-Blog Invisible Oranges als "eine turboaufgeladene, allumfassende Extrapolation von Sabbath-Doom mit einem fiesen Charakter und einem absoluten Monopol auf rechtschaffene Riffs in allen Tempi, Formen und Größen" gelobt. Das US-Trio wagte auf diesem Album das Experiment, eine zusammenhängende Erzählung über die 39 Minuten alles zertrümmernde Schwere zu legen. Mit dem passenden Artwork des berühmten Pulp-Malers Frank Frazetta verwebt "Blood of the Old Gods" erhabene Klanglandschaften und eindringliche Momente zu einem bleibenden Eindruck. RESTLESS SPIRIT wurden erst im Jahr 2018 gegründet, doch das Trio aus Long Island, New York hat bereits zwei Alben und vier EPs auf dem Buckel. Obwohl sie Einflüsse von BLACK SABBATH über TYPE O NEGATIVE bis hin zu THE SWORD nennen, bahnte sich die Band ihren eigenen Weg durch den Untergrund der US Metal Szene. Mit wüsten Riffs, die sich in den Ohren wurmen, fühlen sich RESTLESS SPIRIT sowohl im Stoner Metal, aber auch in Doom und Sludge wohl. Dabei tauscht das Trio die strenge Gitarren-Fuzz-Diät gegen einen sehr abwechslungsreichen, melodischen Ansatz ein. Die Band konnte mit "Blood of the Old Gods" mittlerweile mehrmals auf Tour gehen und wird im Winter 2022/23 erneut auf den Bühnen stehen. RESTLESS SPIRIT arbeiten derzeit bereits hart an ihrem dritten Album, das im Jahr 2023 weltweit über Magnetic Eye Records erscheinen soll.

Wally ist schon ne coole Sau…macht Musik, die an Zeiten erinnert wo Rio Reiser, Westernhagen, Reichel, Extrabreit und co noch als deutscher Rock definiert wurden und liegt damit trotzdem im Hier und Jetzt genau richtig! Man könnte auch bitternötig sagen, denn Wally schafft es mit großer, ungehobelter Klappe, alltäglichen Stories und verdammt viel Rhythm, Rock, Folk Country und Blues ein Stückchen Musik einzufangen, dass auf Gepflogenheiten, Klischees und alles bevormundende "Helikopter-Vorsicht" scheisst. Für den Ausnahmemusiker, der auch bei Bonsai Kitten neue Impulse setzte und sich eigentlich in fast jedem "handmade"-Genre wohlfühlt ist das "Alles halb so wild"! Wally lässt einfach alles raus was ihm auf der Seele liegt. Ganz unskandalös oder auf irgendwelche Märkte schielend! Dabei hat er gerade erst mit seinee Vorab-Single Auskoppelung "Der böse Wolf" auf dem "Artists for Peace"-Charity Sampler für die Ukraine (Platz 3&6 der Charts) ein Riesenpublikum erreicht.Aber Nachplappern war eh nie sein Ding! Man kann auch anecken ohne groß zu Trommeln! Das ist mehr Punk (auch wenn er keinen spielt) als so mancher Iro darstellen möchte…erinnert mehr an the "The Boss" oder Brian Fallon/ Gaslight Anthem, als an die ganzen heutigen Deutschrock-Bands die an die Erfolge einer Frankfurter Band anklonen möchten und "pseudorebellisch" sind. Wally rockt einfach mit Texten aus dem Leben und kleinen Alltagsgeschichten, die durch seine Musik und Leidenschaft zu etwas ganz Großem werden!
Etwas authentischeres im deutschen Rockbereich kannst du aktuell lange suchen!

FEAT. DAVID SYLVIAN & KAZUKO HOHKI

On 'Upon This Fleeting Dream' Clive Bell's Twinkle3 embraces medieval and 16th-century Japanese poems and haiku about death and saying farewell. Bell and his trio, consisting of Dave Ross and Richard Scott, expand their sonic borders: bringing these pithy epigrams to a new Fourth World where electro-acoustic sounds glitches into a hypnagogic, if not the unconscious level of fragile beauty.

The distinctive voice of David Sylvian (ex-singer of Japan and known for his highly acclaimed solo work (Brilliant Trees, Secrets of The Beehive, Blemish...) who reads the English version of the poems and created field recordings and the artwork for this album - blends in the most organic way with the shakuhachi, Thai reed flutes and mouth organs played by Clive Bell.

The narrative voices of David Sylvian and Kazuko Hohki's (Frank Chickens, Kahondo Style...) velvet timbre are the cornerstones of this compelling journey while the tangling and abstract rhythms transcending from Dave Ross' modular synths and Richard Scott's sampler and analogue electronics, unravel and unfold a mesmerizing universe with unknown dimensions and frequencies of a fleeting dream.

File under: electronica, spoken word, fourth world, sound art, shakuhachi, dub, minimal, ambient, abstract, and good music

Recommended if you like: David Sylvian, Japanese poems, Jon Hassell, Pan Sonic, Laraaji, Brian Eno, excellent music

Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She's lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she's funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they'd continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta's songs changed and sculpted by their time together. While Kline's musical taste at the time was leaning toward aughts indie rock she'd loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite "droning, meditation, repetition, clarity and intentionality," as well as "'70s folk and pop" as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their "ambient" or "psych" album. Somewhere between those textural elements and Kline's penchant for concise pop, Inner World Peace finds its balance. The first order of business upon setting up camp in Brooklyn's Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC's aesthetic idiosyncrasies to shine. The mood board for "Magnetic Personality" has a neon green and black checkerboard, a screen capture of the game Street Fighter with "K.O." in fat red letters, and a cover of Mad Magazine that says "Spy Vs. Spy! The Top Secret Files." On tracks like "F.O.O.F." (Freak Out On Friday), "Fragments" and "Aftershook," the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don't miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they're coming deeper into their own. Inner World Peace excels in passing on the emotions it holds. When in the towering "Empty Head" Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline's point of view. Says Greta, "To me, the album is about perception. It's about the question of "who am I?" and whether or not the answer matters. It's about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don't leave the house, who are you to the world? Can you take the person you discover there out with you?" - Katie Von Schleicher

Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She's lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she's funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they'd continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta's songs changed and sculpted by their time together. While Kline's musical taste at the time was leaning toward aughts indie rock she'd loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite "droning, meditation, repetition, clarity and intentionality," as well as "'70s folk and pop" as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their "ambient" or "psych" album. Somewhere between those textural elements and Kline's penchant for concise pop, Inner World Peace finds its balance. The first order of business upon setting up camp in Brooklyn's Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC's aesthetic idiosyncrasies to shine. The mood board for "Magnetic Personality" has a neon green and black checkerboard, a screen capture of the game Street Fighter with "K.O." in fat red letters, and a cover of Mad Magazine that says "Spy Vs. Spy! The Top Secret Files." On tracks like "F.O.O.F." (Freak Out On Friday), "Fragments" and "Aftershook," the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don't miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they're coming deeper into their own. Inner World Peace excels in passing on the emotions it holds. When in the towering "Empty Head" Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline's point of view. Says Greta, "To me, the album is about perception. It's about the question of "who am I?" and whether or not the answer matters. It's about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don't leave the house, who are you to the world? Can you take the person you discover there out with you?" - Katie Von Schleicher

Die ehemaligen ACCEPT-Mitglieder Herman Frank & David Reece feat. VICTORY-Mitglieder Malte Burkert, Mike Pesin und der ehemalige U.D.O.-Schlagzeuger Francesco Jovino präsentieren ihre neue Heavy Metal-Band IRON ALLIES. Vor allem Herman Frank und David Reece sind die klassische Kombination aus erstklassigen Gitarristen, Texter und Sänger. Eine Kombination, die schon mehr als einmal für Aufsehen in der Musikgeschichte gesorgt hat. Ihr Debütalbum 'Blood In Blood Out' wird am 21. Oktober veröffentlicht. Herman Frank kommentiert: "Diese Platte ist mit nichts zu vergleichen, was David oder ich in unserer Vergangenheit produziert haben. Es steht gleichzeitig für sich selbst und klingt, als käme es aus einem Guss. Man könnte sagen: Wir beide haben uns gesucht und gefunden!"

Die ehemaligen ACCEPT-Mitglieder Herman Frank & David Reece feat. VICTORY-Mitglieder Malte Burkert, Mike Pesin und der ehemalige U.D.O.-Schlagzeuger Francesco Jovino präsentieren ihre neue Heavy Metal-Band IRON ALLIES. Vor allem Herman Frank und David Reece sind die klassische Kombination aus erstklassigen Gitarristen, Texter und Sänger. Eine Kombination, die schon mehr als einmal für Aufsehen in der Musikgeschichte gesorgt hat. Ihr Debütalbum 'Blood In Blood Out' wird am 21. Oktober veröffentlicht. Herman Frank kommentiert: "Diese Platte ist mit nichts zu vergleichen, was David oder ich in unserer Vergangenheit produziert haben. Es steht gleichzeitig für sich selbst und klingt, als käme es aus einem Guss. Man könnte sagen: Wir beide haben uns gesucht und gefunden!"

Since making his mark in the ‘90s through the early aughts as a part of the legendary Boot Camp Clik and one half of “Da Incredible Rap Team” and duo Heltah Skeltah, Rock (also known as the Rockness Monsta) has been conservative with solo efforts. With one of the most distinct voices in hip-hop, the Brooklyn emcee released his full-length debut solo albumRockness AP in 2017, and now looks to step back into the spotlight with his sophomore album, Ether Rocks.

Produced entirely by Harlem, New York’s Ron Browz (Nas’s “Ether”, Jim Jones’s “Pop Champagne”, etc.), the project sees Rock’s ominous tone and sharp flow transposed from the traditional Boom-Bap beats of Da Beatminerz and others, into a sonic backdrop that retains grit yet bolsters an updated and more sophisticated style from the legendary emcee.

The 12 track LP boasts guest appearances from Method Man, Steele (Smif-N-Wessun), Ruste Juxx and more, and is available via DSPs, CD and vinyl through American B Boy Records in partnership with Fat Beats.

“Dope is dope. I'm trying to break out of the underground rap box and ease into ‘grown man rap’. This album is basically my way of showing y’all more sides to myself musically and conceptually. A lot of our culture wants you to do the same thing over and over. That’s understandable but not realistic as we are forever evolving as human beings. So, while I continue to serve jedi level barbarian bars, I’m adding some things to the menu.” – Rockness Monsta

By early 2020, Kayleigh Goldsworthy had finally figured out who she was. The long-time hired-gun musician from Syr- acuse and based in south Philadelphia, who had spent a decade backing up the likes of Dave Hause, Bayside, Frank Iero, and others, was ready to commit fully to a solo career of her own work. The day after New Year’s Day 2020, Gold- sworthy started recording her second solo LP, seven years after her debut Burrower, with Will Yip at Studio 4 outside Philly.

Then everything changed. The job and life Goldsworthy had pursued since her teen years was ripped away: tours, shows, studio time, even band practices and writing sessions, all gone. Along with those went away a hard-won sense of self.All those things that had given Goldsworthy the confidence and push to believe in herself and her work disappeared.

“I had figured out who I was,” says Goldsworthy, “then this whole thing happened, and I had to figure out who I was again.”

Limited Edition of 1500 copies. Includes a show flyer for the performance. Pressed on green colored vinyl. In the spring and summer of 1999, Satan's Pilgrims were awaiting the release of their self-titled fifth album. During that time, an in-store performance was recorded live at Jackpot Records on June 13, 1999 onto a mono cassette recorder. Since they were promoting a new album which was yet to be released, none of those songs had been performed in front of a live audience before. Both Jackpot Records and Satan's Pilgrims agreed that this lo-fi boombox recording should be released as is and sonically unaltered, since it really captures what it was like to be standing a few feet in front of the band vibrating the entire block. What could be more "Record Store Day" than an album recorded IN a record store? Mastered by Black Belt Mastering (The Germs, Green Day, Pearl Jam). Tracks: 1. Badge of Honor (cut) 2. Theme from the Arturan 3. Fra Diavolo 4. Tears and Gears 5. Casbah 6. All Day Party (All Night Party) 7. Mutha Fuzz 8. Frankenstomp 9. Super Stock 10. Black Marquis 11. Chi Chi 12. Jungle Room

The visionaries at Bethesda, Arkane and Laced are bringing the twisted ’60s soundtrack for award-winning looper-shooter DEATHLOOP to wax.

The complete 59-track soundtrack has been specially mastered for vinyl and will be pressed onto heavyweight discs. These will come in spined inner sleeves housed in a rigid board slipcase. Tracklist curation and stunning original sleeve artwork is by the team at Arkane Lyon.

This Standard Edition quadruple LP box set features traditional black discs.

Lead composer Tom Salta has built an enviable credits list, with entries in the Prince of Persia, Tom Clancy and Halo universes to his name. For DEATHLOOP’s original score, he immersed himself in the music of Jimi Hendrix, Pink Floyd, Nelson Riddle and a host of other late-’60s influences. Layers of period-appropriate organs, synths and other instruments (including Rhodes, Wurlitzer and Hammond B3) help maintain the tension as Colt picks off Eternalists from the shadows. As things get dicey, or Julianna intervenes with extreme prejudice, tracks explode into furious guitar and drum grooves that propel the zany, supernaturally enhanced gunplay.

Ross Tregenza’s multi-genre diegetic cues perfectly complement the psycho-sophisticate stylings of Blackreef’s artistically aspirational inhabitants, while songwriter Erich Talaba and singer Jeff Cummings brought to life the vicious visionary Frank Spicer with catchy in-universe songs. Music agency Sencit teamed up with powerful yet soulful vocalists for trailer and credits songs, including Bond-ish banger “Déjà Vu” (featuring FJØRA), “Pitch Black” (featuring Lady Blackbird) and “Down the Rabbit Hole” (featuring Samantha Howard & Haqq.)

Heady with hooks and unforgettable melodies, gliding on deeply danceable grooves, always with Air Waves’ innate compassion, concision and uncanny pop sense shining throughout. A masterpiece that’s beautifully simple, instantly accessible and entirely addictive. Featuring Cass Mccombs, Skyler Skjelset (Fleet Foxes, Beach House), Luke Temple, Brian Betancourt (Hospitality, Sam Evian), Rina Mushonga, Frankie Cosmos, Lispector, David Christian, Ethan Sass, and Ben Florencio. ‘The Dance’ has waited three years to see the light of day and it comes to us now, blinking, smiling in the widening light of 2022 feeling more needed and necessary but also more joyous than ever before. It’s both a snapshot of these songs as they were recorded but crucially, in the intervening time those songs have had additional arrangements crafted by Nicole, created remotely and virtually, with a few like-minded collaborators. The result is simultaneously Air Waves freshest, most spontaneous yet finessed album yet. Nicole Schneit released their first independent album in 2009 under the Air Waves moniker, a name inspired by a Guided By Voices song - subsequent albums like 2010’s ‘Dungeon Dots’ (which featured a guest vocal from fellow Brooklynite Sharon Van Etten), 2015’s ‘Parting Glances’ and 2017’s stunning ‘Warrior’ crystallised Schneit’s vision of loose-but-focused, convivial but startling pop. ‘The Dance’ continues that trajectory but finds Schneit opening up their music to a more fluid sense of space and movement, while keeping their lyrical eye between the personal and the political, from the specific to the universal with a haiku-like directness and suggestion. You won’t find a better soundtrack for the solidarity, strength, romance and movement we all need right now than ‘The Dance’ - Air Waves’ best album yet // “There is a rawness, both musical and emotional, proving that the simplest ways to communicate feelings are sometimes the most effective” Pitchfork // “More varied and ambitious than ever” Stereogum // Track List A1 The Roof (feat. Luke Temple & Rina Mushonga) A2 The Dance A3 Star Earring (feat. Lispector) A4 Alien (feat. Cass McCombs) B1 Black Metal Demon (feat. Frankie Cosmos & Merce Lemon) B2 Treehouse B3 Wait B4 The Light B5 Peer Peer

Trouble’s 2013 comeback album (feat. Kyle Thomas on vocals) is 100% quality Doom/Heavy Metal! Trouble’s last studio offering (from 2013) has proven to be quite extraordinary. After putting out the “Simple Mind Condition” and replacing Eric Wagner with Kory Clarke, Trouble looked like they were to reinvent themselves. After trying out Kory, Bruce Franklin and Rick Wartell decided to call Kyle Thomas of Exhorder and Alabama Thunderpussy fame to reprise his role as vocalist for Trouble since he had acted as their vocalist for 4 shows during the late 90’s but had never recorded with them. With Kyle Thomas, Trouble was able to truly reinvent themselves, and in a very positive manner. Obviously the first notable topic of interest is the mentioned Kyle Thomas. As this was the first album to not feature long-time vocalist Eric Wagner (who sadly passed away in 2021). With that said, Kyle does a stellar job. He possesses an incredible vocal range, and delivers his vocals in a powerful way. Many of his vocal melody’s soar over nicely layered chords, and a lot of Kyle’s harmonies mesh nicely with the music. Kyle certainly deserves credit for stepping into the lead vocalist position and delivers a stellar performance. Musically, the album sits between Trouble’s classic doomy metal sound and their psychedelia/rock infused material. Some Trouble fans do not like that era of Trouble too much while others embrace and love it moreover Trouble’s classic releases. “The Distortion Field” manages to effectively mesh Trouble’s classic sound and their psychedelic rock nods in a very balanced way. The song writing is more straightforward as far as arrangements go, and the album is full of powerful riffs; Bruce Franklin and Rick Wartell once again prove that they are the undisputed champions of heavy doomy riffing. Their powerful lead work can be heard throughout the album, and as always adds to the Trouble vintage sound. Upon its release in 2013 everybody gave Trouble the credit they deserve, and the album aged really well.

Fly Anakin's debut studio album 'Frank' draws influence from the classic
R&B and Soul his dad played him as a child, showcasing a gift for
songwriting alongside the breathless raps he's become known for
Recorded at the same time as 'FlySiifu's', it features Pink Siifu on the DJ Harrison
produced 'Black Be The Source', as well as link ups with another Richmond hero
and Anakin mentor Nickelus F, and fellow Mutant Academy members Big Kahuna
OG and Henny L.O..
Beats by Madlib, Evidence, Jay Versace, DJ Harrison, Ohbliv, Foisey, Graymatter
and Like of Pac Div.
"A perfect display of Anakin's captivating lyricism and delivery... flexes the New
York-tinged ruggedness in his breakneck raps as he reflects on his past, present
and future." Paste.
Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as
"one of the illest MCs", and has previously collaborated with Freddie Gibbs. He's
co-founder of the Richmond rap collective Mutant Academy.
"Anakin's detail isn't a skill that could just be picked up from studying the legends
of the genre, it's a gift." Pitchfork
Singles have received press suport so far from Pitchfork, Rolling Stone, FADER,
Hypebeast, Stereogum, Vibe and Okayplayer.Fly Anakin recently performed on
Benji B's BBC Radio 1 show, and guested on Mary Anne Hobbs' BBC 6Music show
and Ebro's Apple Music 1 show. US radio support on the singles from Peter
Rosenberg on Hot97, Sirius XM and NPR. Singles have been featured in playlists
by Spotify, Apple Music, Tidal, Dummy, Crack, Ryan Schreiber Pitchfork, Brooklyn
Vegan, Vinyl Me Please, Red Bull, Warp Records and Fool's Gold Records.
Fly Anakin will tour the UK and US this Spring in support of album release. In
November 2021 he performed a European tour alongside Pink Siifu, with dates
across the UK, France & the Netherlands, including Le Guess Who? Festival,
Utrecht.

Fly Anakin's debut studio album 'Frank' draws influence from the classic
R&B and Soul his dad played him as a child, showcasing a gift for
songwriting alongside the breathless raps he's become known for
Recorded at the same time as 'FlySiifu's', it features Pink Siifu on the DJ Harrison
produced 'Black Be The Source', as well as link ups with another Richmond hero
and Anakin mentor Nickelus F, and fellow Mutant Academy members Big Kahuna
OG and Henny L.O..
Beats by Madlib, Evidence, Jay Versace, DJ Harrison, Ohbliv, Foisey, Graymatter
and Like of Pac Div.
"A perfect display of Anakin's captivating lyricism and delivery... flexes the New
York-tinged ruggedness in his breakneck raps as he reflects on his past, present
and future." Paste.
Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as
"one of the illest MCs", and has previously collaborated with Freddie Gibbs. He's
co-founder of the Richmond rap collective Mutant Academy.
"Anakin's detail isn't a skill that could just be picked up from studying the legends
of the genre, it's a gift." Pitchfork
Singles have received press suport so far from Pitchfork, Rolling Stone, FADER,
Hypebeast, Stereogum, Vibe and Okayplayer.Fly Anakin recently performed on
Benji B's BBC Radio 1 show, and guested on Mary Anne Hobbs' BBC 6Music show
and Ebro's Apple Music 1 show. US radio support on the singles from Peter
Rosenberg on Hot97, Sirius XM and NPR. Singles have been featured in playlists
by Spotify, Apple Music, Tidal, Dummy, Crack, Ryan Schreiber Pitchfork, Brooklyn
Vegan, Vinyl Me Please, Red Bull, Warp Records and Fool's Gold Records.
Fly Anakin will tour the UK and US this Spring in support of album release. In
November 2021 he performed a European tour alongside Pink Siifu, with dates
across the UK, France & the Netherlands, including Le Guess Who? Festival,
Utrecht.

Upstairs, a band from Frankfurt, Germany was active from 1977 to 1983. Though considering themselves mainly a rock group, the band incorporated elements of funk, jazz rock and disco into their music. On their rare and privately released debut album "It's Hard To Get In The Showbiz" from 1980 they created something that could be called Germany's definite answer to AOR, yet still with an edgy and unique krautrock flavor.

The album starts with "Wontcha Try," a track where core songwriter, guitarist and lead singer Helmer Sauer is telling the story about being dismissed from his job: "They tried to tell me in a fucking gentle way, that the time had come to kick me…". Sauer serves more personal, hard-edged lyrics on the album as well. On "Happy Hooker," for example, he tells the story of a working girl in the red light milieu: "The job is as hard that you really can never imagine, she serves for the money, degradin' herself in a way - if you'd know how she's feelin' you wouldn't laugh at all". An empathetic view on the subject of prostitution rarely heard at that time.

But aside from the profound lyrics and songwriting, the album has a lot to offer on the groovy side of things. With catchy bass lines, rhythm guitar, Fender Rhodes, Moog synthesizer, Clavinet and swift crisp drumming "It's Hard To Get In The Showbiz" is one of the best examples of late 70s flavored funky rock from Germany. Additional to the aforementioned "Wontcha Try" another DJ delight should be "Make Your Steps On Better Lines" which showcases a superb synth line and disco funk flavors. We also get the slick mellow latinesque AOR grooves of "Get On A Plane" as well as the now-classic "You're Just Yourself", which marks the most soulful track of the LP. As followers of our label are already well aware, "You're Just Yourself" was featured on the compilation, "Boogie On The Mainline - A Collection Of Rare Disco, Funk And Boogie From Germany 1980-1987" from 2018.

The band mainly performed locally and never really had ambitions to release their music on a bigger label. Too bad that Upstairs only released this one album. Of course, the highly sought-after original pressing is almost impossible to find nowadays. Therefore, we are proud to finally make this record available again after 40 years for a reasonable, regular LP price. Only 300 copies of the carefully re-mastered repress have been produced, and included is a printed lyrics insert identical to the original.

The best selection of Gospel music anthems ! Including the iconic " Oh Happy Day " by The Edwin Hawkins Singers ! Originals Versions Remastered

Over the course of his six-decade-long career, Dr. John embodied a near-mythic multitude of musical identities: global ambassador of New Orleans funk and jazz and R&B, visionary bluesman, rock and roll innovator, one-time top 10 hitmaker, self-anointed and massively revered high priest of psychedelic voodoo. On Things Happen That Way, the six-time Grammy-winning Rock & Roll Hall of Famer otherwise known as Malcolm John “Mac” Rebennack Jr. reveals yet another dimension of his cosmically vast musicality: a lifelong affinity for classic country & western, whose songs he first encountered via the 78 rpm records frequently spun at his father’s electronics shop. Things Happen That Way arrives as the latest and final studio album from an artist who remained wholly unpredictable, alchemizing the charmed simplicity of traditional country into a wildly enchanting body of work.



Things Happen That Way marks the fulfillment of a longtime goal of the legendary singer/songwriter/pianist, who first began plotting a country inspired album decades ago. In bringing his album’s songs to life, Dr. John drew on a lineup of musicians befitting of a universally beloved luminary who worked with the likes of Van Morrison, the Rolling Stones, B.B. King, Etta James, and artists as diverse as Aretha Franklin, Ringo Starr, and Eric Clapton. Along with an elite cadre of New Orleans session players, the album’s personnel include icons Willie Nelson and Aaron Neville, as well as label mate singer/songwriter Katie Pruitt and country-rock powerhouse Lukas Nelson & Promise Of The Real. True to an artist whose music “transcended race and cultural divides”—as Black Keys frontman Dan Auerbach proclaimed in presenting Dr. John his lifetime achievement award at the Americana Music Association Honors and Awards in 2013—Things Happen That Way reflects both a rich sense of history and a boundless passion for defying expectation.

A1. Clifford Brown & Max Roach Quintet - Yesterdays
A2. Bob James - Sign Of The Times
A3. Herb Alpert & The Tijuana Brass - The Lonely Bull (El Solo Toro)
A4. Doris Day - Que Sera, Sera (Whatever Will Be, Will Be)
A5. Nina Simone - Rags And Old Iron
A6. Billie Holiday - God Bless The Child
A7. Ella Fitzgerald With Paul Weston & His Orchestra - Russian Lullaby
B1. Cookin' On 3 Burners Feat. Kylie Auldist - This Girl
B2. Little Willie John - I'm Shakin'
B3. Dinah Washington With Quincy Jones & His Orchestra - Is You Is Or Is You Ain't My Baby
B4. Harry Belfonte - Jump In The Line
B5. Frank Sinatra - High Hopes
B6. Chris Connor - Time Out For Tears
B7. Thelonious Monk - Black And Tan Fantasy
C1. Ella Fitzgerald - All Through The Night
C2. Johnny Mathis - Someone
C3. Cal Tjader - Walk On By
C4. Gil Scott-Heron - Home Is Where The Hatred Is
C5. Mongo Santamaria - Watermelon Man
C6. Peggy Lee - I'ts A Good Day
C7. Ferrante & Teicher - Theme From Exodus
D1. Quincy Jones - Soul Bossa Nova
D2. Ahmad Jamal - Angel Eyes (Live At The Alhambra)
D3. Charlie Parker & Miles Davis - A Night In Tunisia
D4. Les Brown Feat. Doris Day - You Won'T Be Satisfied (Until You Break My Heart)
D5. Cab Calloway - The Hi-De-Ho Man (That's Me)
D6. Glenn Miller - Doin' The Jive

2022 Repress

Junior Ross and The Spears are another great Jamaican Roots group that have been nurtured under the guidance of fellow Jamaican, producer and singer Tapper Zukie.Who not only gave the singer and his band their name but recorded, produced and released their records on his own 'Stars' imprint label.

Junior Ross (Clifford Palmer, b.7 Sept 1953, Kingston, Jamaica) grew up alongside his brothers Frankie Jones and Roy 'Soft' Palmer, who in turn had entered the music business alongside future roots singer Price Alla .

Prince Alla had formed a group called 'The Nazarines' with Roy Palmer and Milton Henry, so music was all around Junior Ross and he would soon follow in their footsteps and start recording some of his songs.

This album you have here had its initial release in 1992...We have added to it various dub versions that were b-sides to the singles and extended recordings again produced by Tapper Zukie.

So you have the Junior Ross and the Spear's classis album and its related musical accompaniments all in one place and sounding better than ever...

We hope you enjoy this classic roots set....

Pressed on blue clear coloured vinyl. Limited edition of 2000 copies worlswide. Originally released in 1968 as an LA studio concept album, this instrumental album is a remarkable fusion of the psychedelic sounds of sitar and mellotron with angular guitar riffs and hard drum breaks. Featuring a lineup of Ry Cooder, Jim Gordon (Joe Cocker, Derek and the Dominos, George Harrison, Traffic, Frank Zappa, Alice Cooper and many more), Mike Deasy (Eddie Cochran, Phil Spector, Everly Brothers, Elvis Presley, The Monkees, The Beach Boys and many more), and The Wrecking Crew (Los Angeles' top studio session musicians). The band recorded only this one album and most of the personnel went on to greater achievements. The quintessence of psychedelic rock in its full-blooming 1968ness. Features original cover artwork by Rick Griffin (Grateful Dead, Jimi Hendrix, Neil Young). Tracks : Leyshem, Zendan, Ceyladd Beyta, Becal, Ddom, Toadda Bb, Dyl, Ralin, Tygstl, Pendyl, Jacayl, Menyatt Dyl Com.

Kuedo wird sein neues Album, „Infinite Window“, am 29. Juli 2022 auf Brainfeeder veröffentlichen. Das Ende Juli erscheinende neue Album ist das erste seit „Slow Knife“, das 2016 bei unseren Freund*innen von Planet Mu erschien.

Mit einer Mischung aus Synthesizer-geladenen Avantgarde-Kompositionen und donnerndem Drum-Programming, verdankt das Album modernen R&B-Ikonen wie Frank Ocean und The Weeknd ebenso viel wie legendären Komponist*innen wie David Axelrod, Tangerine Dream und dem jüngst verstorbenen Vangelis oder zeitgenössischen Breakbeat-Aficionados wie Sully und Jlin.
Kuedo (englisch ausgesprochen: Q-dough) ist bekannt für seine Kompositions- und Sounddesign-Arbeiten für Unternehmen wie u.a. Fendi, Bvlgari, Iris Van Herpen oder Nike. Die Veröffentlichung seines kommenden Albums folgt auf eine Zusammenarbeit mit Brainfeeder-Chef Flying Lotus im Jahr 2017 für den Soundtrack von „Blade Runner: Black Out 2022“ (unter der Regie von „Cowboy Bepbop“-Regisseur Shinichiro Watanabe), wobei Kuedo auch die Filme „Eurasia (Questions On Happiness)“ und „The Sprawl (Propaganda About Propaganda)“ von Metahaven vertonte. Die Vorstellung von „Zeit“ - der Blick nach vorn und zurück - zieht sich wie ein roter Faden durch das Album und den Aufnahmeprozess. Die Entstehung von „Infinite Window“ begann Anfang 2021, als Kuedo sich hinsetzte, um ein komplettes Album für Brainfeeder zu komponieren. Die fertige Platte ber ist eine akribisch zusammengestellte Collage aus neuen Kompositionen und verschiedenen Demos und Tonaufnahmen, von denen einige fast zehn Jahre zurückliegen.

Die limitierte Auflage der gelben Vinyl-LP enthält Artwork von den aufstrebenden visuellen Künstler*innen Monja & Vincent und ein Cover-Design von Raf Rennie (Acronym, Prada, Nike).

Radio Mars is really happy to present you this new artist on the red planet !

Tomas is a punk at heart (a real one)

For this release he was able to mix all styles because he is not linked to any and that’s what makes his charm! His music appropriates the space in a particular way because it bewitches you and never lets go. Melancholic melody, devastating kick a kind of perverse decadence in which the poetic song is linked. Her soft voice comforts you in her sequences of Electro, ghetto, breaks, feverish techno in which you can guess the heat of sweaty bodies…A real job in transitions and choices…

DJ Frankie by his remix gave his hot and nasty side, he respected the original while putting his touch to it, a high-flying track that will easily turn any dance floor. Well done Frankie

This record is a marvel!

2022 Repress

LP+MP3 - Carefully ReEdited, 100% Original

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.
Special remarks : LP with digital download card

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.

Sicilian by birth, Tossini drifted around the world between Italy, Germany and Canada, before finally settling in New Jersey. After the passing of his mother and the breakdown of a second marriage, an anxious and depressed Tossini took to songwriting as a form of therapy, crafting disarmingly candid lyrics from his extraordinary life and loves. Whatever industry savvy or musical virtuosity he lacked was made up for by unflinching resourcefulness and infectious charisma. Befriending bandleader Peppino Lattanzi at local club The Rickshaw Inn, he was encouraged to animate his singular songs with an ambitious cast of 9 players and 5 backing vocalists, sincerely credited as his Friends.

The Atlantic City basement sessions are a low budget, high romance testament to Tossini's character and the power of positive thinking. From the defiant, Casiotone samba of If I Should Fall In Love, to Wild Dream's dizzying escapism and the native tongue croons of Sulla Luna and Sincerita, Lady Of Mine hums with the inimitable magic of a true original. Piercing the heart with an effectively sparse combination of humming keys, CompuRhythm drums, horn flourishes and backing divas, ample room was left for Tossini to frankly deliver his much-needed life lessons.

Underperforming commercially at the hands of short lived label IEA Records, Lady Of Mine has since earned a place in the outsider music canon. Recently peaking interest as a cornerstone of the Sky Girl compilation, the private press trades for inordinate sums, typically with no financial benefit to its creator. Lady Of Mine is now finally reissued on the artist's own terms via Joe Tossini Music, in partnership with Efficient Space, restored from original master tapes with unseen photos, extensive liner notes and Tossini's trademark wisdom.

Devoutly independent, Tossini has previously self-released the 2015 instrumental album When You Love Someone as well as two books - a new fiction novel The Devil In White and his autobiography The Account of My Life.

'Following on from her critically acclaimed debut “SAWAYAMA”, Rina Sawayama’s highly anticipated new record “Hold The Girl” sees Rina once again juxtapose intimate storytelling with arena-sized songs, creating another ambitious and original album to excite fans and critics alike.

Written and recorded over the last year and a half, Rina once again teamed up with longterm collaborators Clarence Clarity and Lauren Aquilina as well as enlisting help from the likes of the legendary Paul Epworth (Adele, Florence & the Machine), Stuart Price (Dua Lipa, The Killers, Madonna) and Marcus Andersson (Demi Lovato, Ashnikko) for their magic touch.

The product of Rina and these collective minds coming together is an album which melds influences from across the pop spectrum and is a bold and honest statement of Rina’s personal evolution; coming to terms with her own past and the jubilation of turning to the future.

PLZ Make It Ruins founder Vegyn is an artist that
pushes diverse sonics in both his solo work and his
collaborations. ‘Like A Good Old Friend’ sees him
follow up 2019’s debut album ‘Only Diamonds Cut
Diamonds’ with a six track EP that effortlessly
traverses electronic, dance, alternative and rap
influences whilst retaining a playful, carefree
attitude.
Vegyn created an impact on a global level through
collaborating with Frank Ocean on his seminal
‘Endless’ and ‘Blonde’ projects, a partnership that
lives on with Vegyn co-hosting Ocean’s Blonded
show.
Vegyn’s other production credits, collaborations
and remixes include Travis Scott, Kali Uchis, Dean
Blunt, KUČKA, Duval Timothy, John Glacier,
SebastiAn (Ed Banger), Porches.
12” with printed inner sleeve.

10 zeitlose Weihnachts-Klassiker von Frank Sinatra, erhältlich auf weißem Vinyl in limitierter Auflage. Darunter "White Christmas", "Winter Wonderland", "Let It Snow, Let It Snow, Let It Snow" und mehr!The Voice a comme tous les grands artistes américains sacrifié à la tradition des chansons de Noël. Les plus connues sont rassemblées dans cette compilation au visuel délicieusement vintage mais classe comme Frank : "Jingle Bells", "Let It Snow", "Santa Claus is Coming To Town" etc. - édition limitée en vinyle blanc.

Next up on eudemonia is the Frankfurt-based duo ‚not even noticed‘. With only a couple of vinyl releases during the last years the two artists are relatively new to the scene. However their sound is perfectly produced and meets the tooth of time. The ‚No More Waiting‘ EP consists of five outstanding futuristic electro and breaks-influenced tracks each going into their own direction. Watch out for more to come in the near future, these guys are on a roll!

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".

feat. Banda Maje

Four Flies is thrilled to present a fresh little gem of a 7 inch where the Salifornian funk collective Banda Maje put their spin on "Wait For Me", a disco-funk track by Canadian multi-instrumentalist Franky Selector originally released in his album Never Better – which last spring was fully reinterpreted by a number of Italian artists, including Banda Maje, in the digital album Italians do it (Never) Better.

The full, vocal version of the re-edit, on side A, sees Franky Selector himself sing in perfect Neapolitan amidst irresistible backing vocals, while the instrumental version is provided on side B.

Both versions brim with joy, funk, and Salifornian energy, bringing Italy and Canada closer than ever. Infectious groove has no boundaries.

May one say that nobody has composed for jazz like Rebecca
Trescher?" (Frankfurter Allgemeine Zeitung) The composer, clarinettist
and bandleader Rebecca Trescher has been leading her own large
ensemble for almost 10 years and has made an excellent name for
herself in the German jazz scene
She has also received numerous prizes and grants (e.g. Wolfram-von-Eschenbach
Prize 2021, Artist in Residence at the Cité Internationales des Arts de Paris 2019,
Bavarian Art Promotion Prize 2017, scholarship holder of the Baden-Württemberg
Art Foundation 2014). Now she is presenting the new album Paris Cycle - The
Spirit of the Streets with her tentett. The four- part work cycle was inspired by
Trescher's six-month Composer in Residence at the renowned Cité Internationale
des Arts in Paris. The composer walked the streets of Paris a lot and was
nspired by the spirit of the city. Become part of a musical journey through Paris.
The composer is looking forward to a live concert with a real audience! With the
unique and multifaceted line- up of her ten- piece Large Ensemble of trumpet,
saxophone, clarinet, cello, concert harp, piano, vibraphone, bass and drums,
Rebecca Trescher creates a refreshing, modern sound that moves experimentally
between jazz and classical music. Under her leadership, the ensemble weaves a
fascinating musical network that is based on Trescher's contemporary
compositional style, but also on the musicians' shared experience, precise
coordination and mutual trust.

Of “Ese puerto existe”, lead vocalist, composer and cuatro player, Maria Fernanda, tells us “this song takes us to the coast, on that beach where the star and the grain of sand are tracing that vertical and infinite line of the present. Perhaps it is the mouth of the flame of the river reaching the sea. Perhaps a look of a bird in migration.”

“Ese puerto existe” takes its name from the first collection of poems by the Peruvian poet, Blanca Varela, who wrote, "On this coast I am the one who wakes up / among the foliage with brown wings”. The song is in the rhythm of the Gaita Tambora, from the Afro-Venezuelan tradition of the southern shores of Lake Maracaibo.

“Ese puerto existe” is mixed Malcolm Catto at Quatermass Sound Lab.

Mastered and cut by Frank Merritt at The Carvery, London

House sleeve art & logo by Gaurab Thakali

After 40 steamrolling, liver wrecking, gut stretching years in the name of heavy metal, the Tankard beer train isn’t slowing down. Right in time for the festivities surrounding their 40th birthday, our most favourite Frankfurters let “Pawlow’s Dawgs” off the leash, their 18th overall record and debut for new label amigos Reaper Entertainment. Produced and recorded at Gernhard Studio Troisdorf again together with Martin Buchwalter. The taps are polished, the Freibier is flowing and Tankard are finally back to what they do best five long years after their last studio album: Thrashing madly, drinking thirstily and ever so cleverly intertwining metal, humour and sarcastic social commentary into one big raucous ball of entertainment. Just like they did all these years ago in a classroom where they drank beer out of emptied milk cartons. All hail Tankard. All hail the dawgs. The world is a better place with capital guys like them waiting at the bar.

After 40 steamrolling, liver wrecking, gut stretching years in the name of heavy metal, the Tankard beer train isn’t slowing down. Right in time for the festivities surrounding their 40th birthday, our most favourite Frankfurters let “Pawlow’s Dawgs” off the leash, their 18th overall record and debut for new label amigos Reaper Entertainment. Produced and recorded at Gernhard Studio Troisdorf again together with Martin Buchwalter. The taps are polished, the Freibier is flowing and Tankard are finally back to what they do best five long years after their last studio album: Thrashing madly, drinking thirstily and ever so cleverly intertwining metal, humour and sarcastic social commentary into one big raucous ball of entertainment. Just like they did all these years ago in a classroom where they drank beer out of emptied milk cartons. All hail Tankard. All hail the dawgs. The world is a better place with capital guys like them waiting at the bar.

Benny Sings releases the reissue of his highly anticipated and most
sought after 2011 album 'ART' The vinyl album is completely remasterd
and comes with a new, never releases bonus track 'How Can I Move On'
The vinyl comes with a 20-page songbook on clear white 180 gram vinyl.
The album includes the evergreen 'Big Brown Eyes' & 'All We Do For Love' which
was heavily supported by Frank Ocean on his Blonde playlist.

Here’s artist Max Kuhn on hearing the new Ralph White recordings for the first time: “I was driving a familiar round trip across the high desert when I first put it on. It immediately spoke to me. In the lyrics there's a familiar geography for me, a familiar emotional landscape for all of us. And maybe it was driving an almost 40 year old truck on sun baked & cracked asphalt in July, but it's like you can hear his songs coming apart- the cadence, the rhymes stumbling & defying expectations, consistency but they just keep moving. You have no choice but to go with it. Probably a good lesson for how to live in this era we're in, cracking up but keeping it all running somehow, trying to make something pretty with the time.” Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Ralph takes us on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard…scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle and lyrics - that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 - weaving in and out of streams of consciousness, time and place. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. “This is what Ralph White really sounds like. It’s what time passing really sounds like. It’s what a look really feels like. This record is someone touching you all over!” --Bill Callahan “Striking, electrifying acoustic music from an underappreciated legend of the American Southwest. Here, tight song structures meet open, unadorned instrumentation: guitar, banjo, kalimba, accordion, fiddle, and White's elastic voice, unspooling pitches and syllables. White draws listeners in on his terms. Lyrics wind and twist and pull back: "Motel 6, Motel 6, Altoona, Altoona; missing you, missing you so, great big hole in my--..." Brave, beautiful, a high point in White's long career. And this is just Volume 1!” - Eli Winter. "What Ralph White puts on albums and onstage is so mind-boggling and vast, it forces those of us in the description business down a treacherous path." --Darcie Stevens, Austin Chronicle. “White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers…White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it…extremely psychedelic.” --David Keenan, The Wire Tracklisting: 1. Gun Barrel Polka 2. Misinformation Shuffle 3. El Golfo 4. Something About Dreaming 5. Rye Straw 6. The Stovepipe Blues 7. No Stranger 8. Morning Sickness 9. Lord Franklin

Inspiration Information Is Presented In An Opaque Metalic Silver Pressing. Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. Despite only moderate success upon its initial release, Shuggie Otis' third album Inspiration Information turned into underground smash decades later and has since maintained a level of cult status normally reserved for mysterious, unearthed legends like Sixto Rodriguez or Lee Fields. Inspiration Information is also noteworthy among Shuggie's other releases, as it was entirely self-produced, as opposed to being overseen by his father Johnny Otis. Shuggie's signature blend of baroque funk is on full display, but with a heavy dosage of psychedelic soul blended in, resulting in an album that's equally swarthy, lush, funky, and emotional; gathering all the best bits of Marvin Gaye, Love, Miles Davis, and even Os Mutantes. Inspiration Information is more than worthy of all acclaim awarded to it, despite the delayed reverence. Track Listing: A1. Inspiration / Information A2. Island Letter A3. Sparkle City A4. Aht Uh Mi Hed B1. Happy House B2. Rainy Day B3. XL-30 B4. Pling! B5. Not Available

Against the backdrop of Asbury Park , NJ rock and punk history comes
BEACH RATS
With a membership that includes four impossible- to- avoid New Jersey punk
stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz
(Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded
out by Danny Windas, AKA "Dubs" on drums . BEACH RATS play a brand of
hardcore/punk that stays true to their members' roots while creating something
completely fresh and urgent."I had moved to Asbury Park," recounts guitarist Brian
Baker. "And it turned out that Pete Steinkopf and Bryan [Kienlan] from the
Bouncing Souls were sniffing around and had the idea to do a fun side-band with
Ari Katz from Lifetime. They had recently played together at a memorial for Dave
Franklin [Vision frontman, R.I.P.] and had a blast. That was the foundation of it.
Like most of my career, I walked into a pre-existing situation, ready to go. They
were talking about it and I was immediately like, 'I want to be in a band! Bands are
great, let's go!"The common denominator for BEACH RATS for was simple. "It's a
mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80's
hardcore riffs because we were there," states Bryan Kienlan. "You're gonna get
authentic punk and hardcore from BEACH RATS because we are all from the 80's.
It's literally taking it back to some of our biggest influences like Negative
Approach and Poison Idea, And of course, Minor Threat."

Big name pile up alert! Frankie Knuckles and fellow Chicago producer Ricky Sinz team up for a funky house outing that has classic written all over from the moment its R&B-slanted vocal starts to wind your around its little finger and the pumping, stripped down 80s groove kicks into life. Orlando Voorn delves even further back for inspiration on his remix, shimmering in disco strings, before Ben Sims carves out two harder-edged mixes that nestle neatly on the house/divide, both playing a single bass note off against restless rhythms.

How many forms can a drum break take across the course of one EP? Needing little introduction are TIN mainstays Frankel & Harper who, with the help of Bakey, help us get to an answer. Buffalo Skank EP is a celebration of breakbeat. Whilst proving the duo's prowess in rhythmic variety, there is an emphasis on fun as they form complex drum patterns only for them to be chopped and screwed into myriad formations. At times, an Amen break is accompanied by blissed-out atmospherics borrowed from old school dnb ("Buffalo Skank"). At others, an unapologetic rhythm drives forward as if crushing anything in its way ("Oblivion"). On "Taz &" ricocheting snares evoke the music of junglist Sully before Bakey strips them entirely in favour
of a more minimal sound.

Kid Kapichi, die Rock-Schwergewichte aus Hastings, haben sich 2019 einen festen Platz in der britischen Rockszene erspielt. Sie bieten eine einzigartige Mischung aus explosiven Riffs, knochenbrecherischen
Liveshows und ohrwurmverdächtigen Melodien des Duell-Lead-Gesangs und der Gitarre.
Die Band wird von Jack Wilson und Ben Beetham (gemeinsame Leadgitarre/Gesang) angeführt, während
die andere Hälfte ihres ohrenbetäubenden Sounds von George Macdonald (Schlagzeug) und Eddie Lewis
(Bass) stammt. Kid Kapichi hat die Bühne bereits mit Frank Carter & The Rattlesnakes, Slaves und
Nothing But Thieves geteilt und ist mittlerweile in aller Munde. Das neue Album ”Here’s What You Could
Have Won” erscheint am 23.09.

Kid Kapichi, die Rock-Schwergewichte aus Hastings, haben sich 2019 einen festen Platz in der britischen Rockszene erspielt. Sie bieten eine einzigartige Mischung aus explosiven Riffs, knochenbrecherischen
Liveshows und ohrwurmverdächtigen Melodien des Duell-Lead-Gesangs und der Gitarre.
Die Band wird von Jack Wilson und Ben Beetham (gemeinsame Leadgitarre/Gesang) angeführt, während
die andere Hälfte ihres ohrenbetäubenden Sounds von George Macdonald (Schlagzeug) und Eddie Lewis
(Bass) stammt. Kid Kapichi hat die Bühne bereits mit Frank Carter & The Rattlesnakes, Slaves und
Nothing But Thieves geteilt und ist mittlerweile in aller Munde. Das neue Album ”Here’s What You Could
Have Won” erscheint am 23.09.

Cristi Cons lands with his debut on Adam's Bite, serving up two pristine cuts of electronic wizardry. The label has previously meddled in strong 90ies aesthetics, delivering starry-eyed homages to days long gone. With the eternal wunderkind at the controls, things get kicked up another notch: following efforts from his peers, he's unearthing, deconstructing, and reassembling some of Frankfurt's halcyon days' most essential sonics.

Drop the needle on the A side to access „Black Swan”, a contemporary house burner perfectly imagining the early trance experiments heard in the dark womb of dance music history. Sprawling across the flipside, „Ahead of the Curve” finds Cristi Cons exploring the psychedelic side of this sound, revealing delicate details to lose your mind in – and a playful bassline keeping bodies earthbound and flowing. Zipping and zapping from Goa to Mainlandia via Bucharest, there's plenty to fall in love with here. Over and over again.

Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep. Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro. Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz-Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks. As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others. Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003. The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'. This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with.

FATSO JETSON was formed in Palm Desert, CA, in 1994 and are often credited as one of the fathers of the desert strain of stoner rock made most famous by their slightly younger neighbours Kyuss and Queens of the Stone Age. While musically similar to some of their stoner brethren, FATSO JETSON incorporate a broader variety of musical influences that includes punk, blues, jazz and surf music. That is not to say that the band isn't capable of dishing out supremely heavy riffs... Certainly grounded in dense hard rock, FATSO JETSON experiment with many musical textures, angular instrumental epics, and bizarre lyrics to create a punk, blues art rock all their own. In 1995, the group recorded their debut "Stinky Little Gods" and followed that up in 1997 with "Power of Three" (both appeared on SST). Brant Bjork briefly joined up as second guitarist and appeared on two 7" releases. The band then teamed up with Bongload Records, who released FATSO JETSON's third full-length, "Toasted", in 1998. Guitarist and old friend Gary Arce joined the band to record their fourth LP "Flames for All" in 2000 for Artist Frank Kozik's Mans Ruin Label. FATSO JETSON also contributed to "The Desert Sessions" releases that Josh Homme organized, bringing desert musicians and other creative like-minded rock musicians together to collaborate. It was Homme's record label Rekords Rekords that released the next FATSO JETSON album in 2001 "Cruel and Delicious". For this session the band was joined by Vince Meghrouni on Sax and Harp, adding a new dimension to FATSO's hard to pin sound. The band continues with this line up in 2009. There must be something in the sand of sweltering Palm Desert, a California town that has birthed Kyuss and Queens of the Stone Age, as well as Fatso Jetson. Like Kyuss/QOTSA, Fatso Jetson built a name for themselves by putting their own unique spin on the Sabbath sound, but unlike their counterparts, larger than life singer/guitarist Mario Lalli's true love lies in both jazz (Thelonious Monk, Eric Dolphy) and experimental rock (Frank Zappa, Devo). On paper, this conglomeration of different styles sounds like the perfect recipe for a train wreck, but it somehow all comes together on disc, as evidenced by the trio's 2003 offering, Cruel & Delicious. Issued on old pal Josh Homme's label, Rekords Rekords, the trippy songs perfectly fit the feel of the album's cover (a sun-bleached photo of a long stretch of desert highway), especially such standouts as the saxophone free for all "Drinkin Mode," the melodic "Light Yourself on Fire," the bouncy instrumental "Heavenly Hearse," a barely recognizable cover of the Devo obscurity, "Ton O Luv," and the jazzoid freak-out, "Pig Hat Smokin." Cruel & Delicious is an enjoyable slice of hard rock, well off the beaten path. Originally released on CD via Josh Hommes rekords rekords label. Right in time for its 20th Originally released on CD in 2001 on Josh Hommes own Rekords Rekords-label and now on vinyl for the first time! 20th anniversary! Remastered for the vinyl release. This record is a classic and we’re happy and proud to put it out on wax! Track listing: Pleasure Bent; Drinkin’ MODE; Light Yourself On Fire; Died In California; Heavenly Hears; Ton O Luv; Pig Hat Smokin’; Superfrown; Iron Chef; Sunshine Enema; Party Pig; Stranglers Blues; Mountain Of Debt

From the folk punk roots of Carry Me, through the anthemic One Way, Fifteen Years and Top 20 hits Hope Street, Just The One and Beautiful Day - more recent tracks such as Truth Is, The Cholera Well and The Recruiting Sgt show the Levellers' mix of scathing political comment and positive DIY attitude to life hasn't dissipated over the years.

Most exciting of all, there are brand new recordings of the Levellers collaborating with contemporary artists re-working some of their classic material. Imelda May is the Queen of all time on Beautiful Day, while Bellowhead and the legendary Billy Bragg help out on Just The One and Hope Street respectively.

Finally, lifelong Levellers fan Frank Turner joined the band in the studio - breathing new life into Julie - bringing us back full circle for another generation of the disenfranchised to discover the Levellers for the first time.

The ground- breaking, unique jazz/R&B/pop group Brian Auger & The Trinity were formed from the ashes of Long John Baldry’s and Brian Auger’s previous group bandThe Steampacket, an R&B Revue collective, which also featured a then barely known Rod Stewart and Julie Driscoll.

Adding the UKs then greatest soul/pop singer Julie Driscoll to this new collective meant that not only did the band have a unique, beautiful voice and face to front the group – Driscoll also embodied everything about the 1960s fashionable It Girl; her sound, her clothes, hair styles and make up assured that nearly as many column inches were dedicated to her stylish demeanour as much as the band’s genre bending music.

The group were the one of the first too to intentionally set out to break down musical barriers – Brian himself specifically stated in the sleeve notes for 1968s ‘Definitely What!’ album that his concept “lies along a straight line drawn between pop and jazz and aims at the ‘fusion’ of both elements”. ‘Fusion’ at that time was not even a recognised musical term, reinforcing Auger’s credentials as an originator and innovator.

“Back then the jazz audiences were purists. They really looked down on rock and pop,” he explains. “I had people cross the road when they saw me coming, I was persona non grata at Ronnie Scotts because of themusic we were doing and the clothes we were wearing”.

Happily – audiences of the time didn’t take the same dismissive approach, Julie Driscoll, Brian Auger & The Trinity toured the US and had exploded onto American TV screens as guests of The Monkees, and also scored hits across Europe's pop charts via the singles ‘This Wheels On Fire’ & ‘Save Me’ – but simultaneously appeared on the UK’s ‘Top Of The Pops’ in the same month as headlining major European Jazz Festivals – a feat no other act has equalled since.

Between 1967 and ’70, Brian Auger experienced a four year run of unprecedented creativity – 1967’s Open with Julie Driscoll, 1968’s Definitely What!, 1969’s Streetnoise again with Driscoll and 1970’s Befour – taking the Hammond Organ in new directions with their thrilling fusion of club R&B, jazz and psychedelic cool, engaging both the underground and the mainstream, and bringing the group chart success in the UK and Europe. “I look back on my years with The Trinity as aperiod of discovery,” Auger concludes. “I didn’t know what would happen or where it would take me but we were breaking down barriers and going someplace new.”


King Britt “The Multi-Genre Maestro, Brian Auger is every producer and DJ’s secret weapon. A hero who deserves his flower now”

DJ Format “I have more Brian Auger records in my collection than any other British artist, which says more about my love of his music than words ever could"


FOR FANS OF:
Jimmy Smith, Aretha Franklin, The Spencer Davis
Group, Nina Simone, Georgie Fame, Traffic. Sly &
The Family Stone, Jimmy McGriff.

This boxset features remastered versions of all of Sade’s studio albums to date, on pure 180 gram black vinyl the first complete collection of their studio work up to the present day All six of the band’s acclaimed albums Diamond Life 1984 Promise 1985 Stronger Than Pride 1988 Love Deluxe 1992 Lovers Rock 2000 and Solder Of Love 2010 are packaged into the beautifully finished, white case bound box Revisiting the audio, the band worked from high resolution digital transfers of the stereo master mixes, from the original studio recordings, remastered at half speed at Abbey Road Studios The elaborate, half speed mastering process has produced exceptionally clean and detailed audio whilst remaining faithful to the band’s intended sound No additional digital limiting was used in the mastering process, so the six albums benefit from the advantage of extra clarity and pure fidelity, preserving the dynamic range of the original mixes for the very first time The six album sleeves have been meticulously reproduced in exact detail with authentic paper and printing methods, perfectly replicated for the first time since their original release.


Over an exceptional career spanning more than three decades, Sade’s six albums have amassed over 60 million worldwide sales and have been certified platinum 24 times over Producing singles such as ‘Your Love Is King’, ‘Smooth Operator’ and ‘By Your Side’, Sade have gone on to achieve Number 1 albums across the world, collected several Grammys, MTV Video Music Awards, and a BRIT Award along the way, quietly taking their "place in the pantheon of cultural influence” New York Times, October 2017. Their most recent studio album, Soldier Of Love, charted at number one in 15 countries, including the US, upon release in 2010.

“Klangstof are conducting deliciously evil experiments on indie rock.” – Clash. Klangstof recently returned to attention with the ‘Ocean View’ EP, which was one of two projects they recorded simultaneously in 2021. Its release added to the anticipation for the bigger set that was recorded at the same time, their third studio album ‘Godspeed To The Freaks’, which will be released on September 16th. The band today launch the album by sharing its lead single ‘Disguiser’. ‘Godspeed To The Freaks’ will see the Edison Award (the Dutch equivalent to the Grammy or BRITs) winning band add to the widespread tastemaker attention that has greeted their previous two albums. It’s an album which focuses on self-reflection; finding the courage to confront your inner self and being at peace with your demons. There’s a power that comes with the acceptance that every good day might have a touch of darkness to it. And in a further contrast to the electronic-orientated 2020 set ‘The Noise You Make Is Silent’, this record is focused primarily upon the warmth of its live instrumentation and the intuitive interplay between the band members. Remarkably, the bulk of ‘Godspeed To The Freaks’ was recorded in just two weeks. The trio - Koen van de Wardt, Wannes Salomé, and Erik Buschmann - were boosted by the addition of their touring guitarist Wouter Van Nienes and channelled the energy of their live show, an approach further amplified by recording in a temporary studio in De Bolder, a music venue on the tiny Dutch island of Vlieland. Klangstof essentially rehearsed, recorded and produced the core of the record themselves in that serene environment, giving them a bubble of freedom amidst a world in chaos. Any outside input only followed later, with additional mixing by Sam Petts-Davies (Radiohead, Frank Ocean) and mastering by Heba Kadry (Björk, Slowdive, Big Thief). The album campaign’s visual aesthetic features band portraits courtesy of the iconic photographer and director Anton Corbijn. His timeless photography includes shoots for R.E.M., U2 and Nick Cave, while Nirvana, Metallica and Depeche Mode lead his numerous renowned music videos. He is also a feature-length film director who is best known for the Ian Curtis / Joy Division biopic ‘Control’. Klangstof will play several European shows this summer as guests to Pixies, including Manchester’s Castlefield Bowl on July 5th. They will again link up with Pixies in December for a tour of Australia and New Zealand.

3rd album of kaleidoscopic 60s psych pop from Glasgow quartet, feat. members of The Wharves, Nightshift and Current Affairs. Now in their 5th year of existence, Order of the Toad forge onwards with 12 frenetic new compositions, pulled together throughout windows of opportunity during the covid era. Recently a four piece (new guitarist Fionnan joining the Order just before the lockdowns began), Gemma Fleet (Current Affairs/ ex- The Wharves/Kasms) remains the spiritual lynchpin and main energy conductor from which Chris Taylor (Personality Toilet/Open Face), Andrew Doig (Robert Sotelo/Nightshift) and of course now Fionnan (Open Face) are powered. With added twin guitar dimensionality, the band flirt with an 80s new wave sound at times on Spirit Man, garnishing their regular sound with new hues of blue and purple atop the amphibious green of previous efforts. ‘Subterranean’ which opens the set is evidence of a B52s style composite, Doig’s now familiar faux organ guitar franken-sound holding steady beneath the wild and youthful six string movement that Fionnan brings to the toadstool. Elsewhere Taylor takes the lead Vox on ‘Salt of the Earth’, ‘Upstairs Downstairs’ and ‘The Dumbening’, all further progressions of the ensemble’s sound. Song structure and chord elements subtly mutate away from the 60’s nucleus of yore, Taylor bringing a Kevin Ayers meets Bill Callahan vocal approach to his cleverly assembled lyrical narratives, the band weaving about tempos with eccentric colour around him. Of course Fleet’s voice is central throughout, always simultaneous with her precise elasticity on the 4 string bass guitar, providing the likes of ‘Golden Rod’ with a sweeping Grace Slick meets Dolly Parton wail, a hollering Kate Bush style octave leap during the kinetic ‘Fog Horn’ and the fast paced crescendo of hollers at the back end of ‘Beyond the Pale’, a breathless 4 chord slammer. Her graceful and acute vocalisms paint the world of Order of the Toad and never before as vibrantly.

Finally it’s here! After many years, the repress arrived. This time how it was supposed to be. With new cover artwork and newly mixed songs. It's a rare but exhilarating occasion when you put on a new LP and are utterly blown away by what you hear. Every now and then, music makes you feel magically alive -- makes you want to jump around, pound your fist in the air, and shout "Oh, yeah!" Listening to Grand Fury, the second major release by Los Angeles quartet the Bellrays, is such an experience. Imagine the Funhouse-era Stooges fronted by a female R&B singer instead of Iggy Pop, and you'll have a vague understanding of what the Bellrays call "maximum rock 'n' soul". Although they've drawn comparisons to the Stooges or the MC5 fronted by Tina Turner, Etta James, or Aretha Franklin, the Bellrays rightly point out that soul was an important element in those Detroit-area punks' sounds. So, in some ways, the Bellrays are just bringing out an element of early punk music that was there all along. Nonetheless, the resulting sound is startlingly unique. Lead singer Lisa Kekaula has also sung jazz, and it's obvious she has technical skill, but she tears into these songs with a venom and passion that is pure rock 'n' roll. Bandmates Tony Fate, Bob Vennum, and Ray Chin provide a raw, blues-edged backing that is loose enough to allow Kekaula considerable room to go wild. And does she ever. With her raucous voice and the aggressive songs penned by guitarist Fate, Kekaula makes you believe she'd sooner spit in your face than look at you. "I'm stuck inside a moment / Can't find my way out / And time keeps draggin' on" she sings on "Fire on the Moon", but the confident way she spits out the words makes you believe she could claw her way out of anything. Likewise, Kekaula's indictment of "Stupid Fuckin' People" is so fierce it's almost scary. When she snarls, "Stupid fuckin' people always get in my way / Want to ruin my piece of the world" you know you'd better get out of her way. The only time this sonic assault slows down is on "Have a Little Faith in Me", a sexy soul number that Janis Joplin would have been proud to sing. While Kekaula's amazing voice and charisma are key to the Bellrays' sound, the rest of the band has to be commended for rocking so hard without drowning out that fierce set of pipes. With all the over-produced pap dominating the airwaves, hearing a band this raw and raucous is a dream come true.

Roman Flügel’s pioneering Tracks On Delivery series returns for a new EP on Rekids.

In the early 00’s, Roman Flugel’s ‘Tracks On Delivery’ releases saw the producer put out four records on Ongaku Music that helped defined an era of oddball minimal techno. Returning to the concept in 2022, the Frankfurt-based electronic music luminary delivers four idiosyncratic techno tracks for Radio Slave’s imprint.

Active since the 90s, Flügel has been at the forefront of electronic music for decades. Founding the labels Ongaku, Klang Elektronik, and Playhouse, Flügel also boasts a storied discography across labels such as Running Back, ESP Institute, Dial and many more, as well as having contributed to both Live at Robert Johnson and fabric’s iconic mix series.

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Dinah Washington has been cited as “the most popular black female recording artist of the 1950s”. The jazz vocalist passed away in December 1963 at the age of 39. Just a few months after, in February 1964, Aretha Franklin released her fifth studio album Unforgettable - A Tribute to Dinah Washington. Aretha never personally met Dinah, but she was a good friend of Aretha’s father. Washington always had a major influence of the blossoming style of Aretha. Several covers are, to this day, considered as some of her greatest hits due to Franklin’s timeless voice.

The album was recorded at New York’s Columbia Studios. The recordings were made with the assistance of a small and sympathetic accompanying group for which producer Bob Mersey supplied minimal written guidance.

The legendary record label Brunswick Records is home to a
plethora of amazing recordings from classic soul to rhythm &
blues. In this collection we trawl through the vaults to present you
with twelve of the finest funk inspired tracks which are sure to get
you perspiring on the dance-floor.

Classics come in the way of Gene Chandler’s scintillating cover
of James Brown’s There Was A Time, Erma Franklin’s Light My
Fire from her timeless album Soul Sister and Exit 9 with Miss
Funky Fox - a remarkable addition to the Brunswick catalogue
given these musicians were only between the ages 16-20.
Dig a little deeper and we have supreme album cuts from Jackie
Wilson, The Eliminators, The Young-Holt Unlimited, The Lost
Generation, Total Eclipse and Willie Henderson. All of which will
get your reaching for your original album copy.

Pressed on 140g black vinyl with a printed inner sleeve and
artwork reflecting the original Brunswick releases. This is an
essential addition to anyone’s record collection.

Jonathan Jeremiah veröffentlicht sein 5. Album 'Horsepower For The Streets'! Ein Großteil des neuen Albums wurde auf dem Land in der Nähe von Bordeaux, während der Pausen von Jonathans erster Frankreich-Tournee geschrieben, bevor das Album final in einer monumentalen Kirche in Amsterdam mit einem 20-köpfigen Streichorchester aufgenommen wurde.

Im Grunde ist 'Horsepower For The Streets' ein Konzeptalbum in elf Kapiteln, das von dem bleibenden Schmerz und der Zerbrechlichkeit lebt und uns dabei lehrt, unsere dunkelsten Dämonen zu akzeptieren.

Die Songs darauf fangen einen speziellen Groove früherer Jahrzehnte ein, mit schrammelnden Gitarren, majestätischen Streichern und warmen, nostalgischen Harmonien.

So auch der Titeltrack und erste Single, auf dem Jonathans vibrierende, soulige Stimme und die tiefgründigen Texte auf eine groovige Rhythmusgruppe und Streicher á la Lalo Schifrin, Michael Kiwanuka oder Terry Callier treffen.

Wiederveröffentlichung eines lang vergriffenen Album das 1982 erstmalig erschien und im Channel One & Harry J Studio mit Soldgie Hamilton am Mischpult und den Musikern der Roots Radics eingespielt wurde. Neun der zehn Stücke wurden von Linval Thompson selbst produziert, der Titelsong der LP von Henry "Junjo" Lawes. Dieser basiert auf dem "I'm Not Getting Crazy" Riddim, der durch Frankie Pauls "Worries In The Dance" weltweit populär wurde. Der Tune "I Spy" wiederum hat den selben Riddim wie Eek-A-Mouses "Do You Remember". Die Riddims der Stücke "Are You Ready", "Call Me", "Things Couldn't Be The Same" und "Holding On To My Girlfriend" kamen auch bei den legendären Scientist Dub-Alben zum Einsatz.

Nachpressung auf weißem Vinyl! Auf ihr Solodebüt "No Time For Sorrows" von 2004 folgend kehrte FABIENNE DELSOL 2007 mit frischem Fleisch für ihre Fans zurück: "Between You And Me". Aufgenommen über drei Jahre hinweg ist "Between You And Me" eine moderne Schatzkiste, die den Pop der Swinging Sixties in ein zeitgenössisches Gewand hüllt und hier und da farbige Akzente mit Songs auf Französisch und der Single "Catch Me A Rat" setzt. Im DELSOL typischen Mix aus Coverversionen und Songs, die von George Miller, Peder Bernhardt und dem Damaged Goods Kollegen PETE MOLINARI, der auch als Gast auftritt, geschrieben wurden, lässt sich so manchem sommerlichen Tagtraum nachhängen. FABIENNE DELSOL stammt ursprünglich aus Frankreich und machte seinerzeit als Frontfrau mit der legendären Londoner Garageband THE BRISTOLS von sich reden. Seitdem lebt sie mit Partner Liam Watson (Produzent, Toe Rag Studios) in London.

Das dritte Soloalbum von Sheku Kanneh-Mason, das von ihm persönlich kuratiert wurde, spiegelt die musikalische Bandbreite des Cellisten wider. „Song“ verbindet fantastische Stücke aus den Bereichen Klassik, Folk, Jazz sowie Pop: Shekus eigene Arrangements schöner Volkslieder, darunter „Myfanwy“; Werke von J. S. Bach, die Sheku zum ersten Mal für mehrere Celli arrangiert hat; Improvisationen über Jazzmelodien wie die weltberühmte Ballade „Cry me a river“; Shekus Solo-Pizzicato-Bearbeitung von Aretha Franklins „I Say a Little Prayer“; ein Satz aus Messiaens bewegendem „Quartett für das Ende der Zeit“ und ein neues Auftragswerk von Edmund Finnis, das speziell für Sheku geschrieben wurde. Das Album
enthält außerdem Stücke für Cello und Klavier von Beethoven und Mendelssohn, die Sheku zusammen mit seiner Schwester und Konzertpartnerin, Isata Kanneh-Mason, spielt. Neben seiner Schwester hat Sheku mit vielen Musikerfreund:innen zusammengearbeitet, darunter dem Jazzpianisten Harry Baker, der Sopranistin Pumeza Matshikiza und dem Sänger Zak Abel, mit dem Sheku einen neuen Popsong für dieses Album geschrieben hat.

The Outer Edge (formerly known as The Artless Cuckoo) is proud to present a second vinyl release by Ghia. The first single is sold out for a while and already became a collectible item. Now, we present a piece from Ghia's past - a very limited 7" with two unreleased recordings from 1985: "Down At The Hilton" on side A and the equally fantastic tune "Curacao Blue" on the flip side. This is just the beginning of a series of more unissued songs by the band. Two albums are currently in the works - and there will be more material to follow.

For now, here is what label founder Günter Stöppel a.k.a. John Raincoatman says about the project: "For the past three years I've been asking Ghia about further recordings. Lutz Boberg and Frank Simon, the two original band members who later joined with Lisa Ohm as a singer, always were communicative, friendly and interested in releasing more music. But at the same time nothing really happened. Accept for a bunch of newer demo tracks they offered on their Bandcamp page for a while, I never was able to hear anything more. Anyway, a few month ago, I suprisingly received a picture by email. A photo showing a box of 11 demo tapes by Ghia with basically all tracks they ever recorded. I couldn't believe my eyes! After a few complications the package with the cassettes arrived in Berlin. I didn't really know what to expect. Everything was taped chronologically, the first cassette included early recordings from 1984 and 1985. I put it in my tape deck and I couldn't believe what I heard. It started with a minimal electro funk track, the next song was '80s funk with rap vocals, and then came a track entitled "Down At The Hilton". This was EASILY the best Balearic jazz funk track I had ever heard. The warm sound, the melodies, the drum computer beats, the solos - everything was almost too unreal to believe. I really didn't understand why Boberg and Simon never considered that some of their early works could be of interest to other people. But they simply thought of it as some sort of learning curve remnants or simply forgot that the music existed."

The story goes on - but we are going to end it here for now. The vinyl single "At The Hilton" is now available. Once you hear the songs we are sure that you'll agree that the music by Ghia needs to be heard and shared with the world.

Ltd edition RED Vinyl, DL card. Re-writing the rule book when it came to punk requisites, Leatherface combined passion, angst and power with undeniable songwriting and technical prowess. Led by wordsmith Frankie Stubbs their explosive hooks and thrashing guitars quickly became their trademark and made them one of the most exhilarating UK bands of the 90s. Arriving at the peak of their career, ‘Minx’ channelled Stubbs’ love for Joy Division and features their much loved fourth bassist, former Snuff band member Andy Crichton. A lost classic, it brought with it a more emotional direction to their sound which was released on the brink of the band’s hiatus. // “A ferocious force to be reckoned with… another superb album” AllMusic // ★★★★ MOJO

It's time to present in Umor Rex a new collaboration between two great exponents of contemporary music who have been part of the electronic and experimental avant-garde for the last three decades. On the one hand, we have the Berlin-based musician, composer, and video artist Frank Bretschneider, recognized for precise sound placement, complex, interwoven rhythm structures, and his minimal, flowing approach. On the other hand, Giorgio Li Calzi, the Italian trumpeter, composer, producer, and performing director based in Turin, whose work is known for electronic/effects improvisation combined with the trumpet.

The creation process of Zero Mambo started when Giorgio and Frank met in Chamois, the Italian Alps, in 2018. A year later, Bretschneider sent to a few drafts in the form of audio files, loops, and sequences, and Li Calzi used this material quasi as a framework to create new compositions on it. At that time, in the pandemic, with the unprecedented intervention in lives and rituals, the situation led to ideal conditions to reflect and produce music, a snapshot of the weird times. Li Calzi and Bretschneider offer in Zero Mambo a fascinating album between electronic and jazz. It is clear that it is elegant, clean, and minimal, but we have to say, Zero Mambo is also exuberant and cheerful. A fantastic Berlin-Turin music connection.

repressed !

Now a frm favourite in many a DJ's record bag, Nigerian disco-boogie king Steve Monite's hit Only You' (featured on Soundway's recent Doing It In Lagos' compilaton), is given a rework by Sofrito's own Frankie Francis.
On the B-side, Nick The Record teams up with Idjut Boys' Dan Tyler to take on Haf Deo' - a beautful taste of breezy tropical Congolese pop from Tabu Ley Rochereau.

. All vinyl comes with a DL card. Seminal third album from one the greatest UK punk bands, Leatherface's 'Mush' is back on wax with brand new colour vinyl editions. Lovingly repressed, the album comes with extensive liner notes and includes 4 bonus tracks via download; a unique cover of ‘Message in a bottle’ and ‘Trenchfoot’ from the Not Superstitious 7” & ‘You Are My Sunshine’ and ‘Dreaming’ from the I Want the Moon 7” // "One of the most intense records of the '90s" AllMusic // "The truly perfect album" The Guardian // Teaming up with engineer Paul Tipler (who also worked on Stereolab and Chapterhouse), ‘Mush’ was recorded in Greenhouse Studios in North London (owned by Pat Collier of The Vibrators). Following praise from the music press, they soon found themselves doing John Peel and Mark Radcliffe sessions. Fully re-mastered, this collection includes extensive liner notes featuring interviews with Frankie, as scribed by The Big Takeover’s Jack Rabid, leaving no stone unturned. The release includes remastered bonus material via download, including a unique cover of ‘Message in a bottle’ and ‘Trenchfoot’ from the Not Superstitious 7” and ‘You Are My Sunshine’ and ‘Dreaming’ from the I Want the Moon 7”. Track listing Side A: A1 I Want The Moon A2 How Lonely A3 I Don't Want To Be The One To Say It A4 Pandora's Box A5 Not A Day Goes By A6 Not Superstitious Side B: B1 Springtime B2 Winning B3 In The Real World B4 Baked Potato B5 Bowl Of Flies B6 Dead Industrial Atmosphere…. Bonus tracks on LP DL & CD: Message in a Bottle (Not Superstitious 7"), Trenchfoot (Not Superstitious 7"), You Are My Sunshine (I Want The Moon 7"), Dreaming (I Want The Moon 7")

Sarah Brown releases her debut album ‘Sarah Brown Sings Mahalia Jackson’ on 20th May 2022, preceded by a new single ‘Walk Over God’s Heaven’ on the 6th May. The record sees Sarah offer her interpretations of some of the classic tracks of arguably the most famous gospel singer of the last century who gave Brown hope and sanctuary through hard times faced over the years. Having recently appeared on Radio 4’s Woman’s Hour performing her debut single ‘I’m On My Way’, she is currently on tour with Simple Minds with whom she has been playing with for the last 15 years.

Sarah explains: “For as long as I can remember, Mahalia Jackson with her fever pitched performances have been a soothing note to my tapestry. At 10 years old, I remember hopelessly trying to sing along to her bellowing thunder of a voice. In my bedroom I would become her. I chose these songs because they tell of my story. Growing up in a Caribbean home to parents who were a long way from their home. Anger and fear were the two prominent emotions that I lived with.

The style I was trying to achieve was influenced by early jazz, blues and the spirituals. I am happy with the sound/style of the album. It was always going to be an experiment but I had no idea that it was going to sound as good and as authentic as it does. ‘Didn’t It Rain’ as a jazz feel. ‘Nobody Knows’ as a spiritual feel then it goes into swing jazz. ‘Walk over God’s Heaven’ as a hint of rock & roll with a bit of early swing.”

You may not know Sarah Brown’s name but you’ll definitely have heard her voice. From her collaborations with the likes of George Michael, Stevie Wonder, Duran Duran, Simply Red, Roxy Music, Pink Floyd, Simple Minds … Sarah Brown is one of the most prolific and in-demand vocalists in the world. Jim Kerr from Simple Minds comments: “In a sane world Sarah’s colossal talent would ensure that she would be front of stage every night, so I would be in the front row. Every night. I am her biggest fan after all”

Mahalia Jackson (October 26, 1911 – January 27, 1972) is widely considered as a major influence on Mavis Staple, Little Richard, Aretha Franklin, Sam Cooke, Donna Summer, Ray Charles, and a civil rights icon (Malcolm X noted that Jackson was "the first Negro that Negroes made famous”, Harry Belafonte stated "there’s not a single field hand, a single black worker, a single black intellectual who did not respond to her”, and it was Mahalia who prompted Dr. Martin Luther King, Jr to improvise the ‘I Have a Dream’ speech.

Often duplicated, never imitated: the power of Lauer! Albeit being no stranger himself to musical influences from the outside, the producer from Frankfurt managed to carve out a sound that is very much his own. Indie-dance, Italo, power pop and house music in its traditional sense get mixed up in a blender of happiness.
Lauer’s latest achievement for Running Back and welcome return is a mini-LP called Cyclone Days. Aptly titled and ably executed, it’s everything you would expect or want from him. A world of merry music, where melody is king.

On top of that , you get value for your money: Vocal blockbusters like the upbeat Somebody (instrumental included) and the more restrained Friends (both with frequent collaborator Dena), sit comfortably between instrumental hits. Resonator and Neway take the role of the proverbial keys to happiness, while the title track or Exterminate balance it out with joyful melancholy.
Just imagine Righeira signing to Factory Records or Durutti Column on holidays in Rimini and you are halfway there. The days might be like a cyclone, but as long as there are records like this, the shelter isn’t blown.

‘Cupid & Psyche 85’: Originally released in 1985, includes sleeve notes written by Green Gartside and David Gamson.

From a bedsit in London to New York recording studios… Alternative acclaim to mainstream adulation… Indie label hopefuls to major signings… Despite the series of radical shifts that underpinned its creation, Scritti Politti's second album, ‘Cupid & Psyche 85’, achieved the virtually impossible. While everything was scaled up - the ambition, the sound, the audience - the singular artistic vision that drove the group not only remained intact and undiluted in these bigger surroundings but became more inventive, more adventurous and, ultimately, more beloved. Introduced to pianist and programmer David Gamson while making of the band's debut album ‘Songs To Remember’, Green Gartside realised he had found a creative foil to help him achieve the ambitions he had for Scritti Politti Partially recorded in New York, with several tracks produced by Arif Mardin (who had worked on Aretha Franklin’s ‘I Say A Little Prayer’, a track Green beautifully commemorates on this record) and partially in the UK, with Green and Gamson directly overseeing the process, ‘Cupid & Psyche 85’ is infused shimmering synths and the heat of classic funk.

Yet weaved together by Green’s intoxicating melodies, it is also embroidered with ideas from philosophical writings, while taking cues from myths and fables.

With their ability to move seamlessly from the triangle to the donkey jaw, cymbals to Chinese gong, vibraphone to wind machine, percussionists are undoubtedly the most atypical members of the classical orchestra. Paul Changarnier, Nicolas Cousin and Alexandre Esperet are a case in point. Having set their sights on the marimba - Latin American xylophone, cousin of the African balafon - they decided to use it as the main vehicle for their artistic dreams. With the label No Format, they embarked on a project which would see them taking on pop hits of the kind that are produced in mega studios on the other side of the Atlantic and dazzle with a thousand lights and special effects. But they wanted to do it without leaving France or their beloved instruments. They wanted to make pop without machines, guitars, bass or synths. They ended up finding a hitherto unknown instrumental formula that belongs to them and them only, one conceived as the perfect fit for the voices from the well-known French artists that were called upon to interpret the songs. Camille, with her extraordinary energy, makes Rihanna"s "Don"t Stop the Music" waltz in a new organic mode; Blick Bassy redecorates Ariana Grande"s "One Last Time" in the colours of Bassa; Malik Djoudi envelopes Frank Ocean"s "Super Rich Kids" with a subtle ethereal texture; Camélia Jordana made her mark on this bonanza of reinvention by slowing down the tempo of "Dance Monkey"; The voice of Sandra Nkaké, imbued Lana del Rey"s "Video Games" with a solemn and sublime mystery. Like an old love that"s rediscovered with new eyes, an air that comes back from far away but could have been born today, somehow familiar but never seen before. Déjà vu but never heard until now. Déjà Vu: the name of this magnificent, unprecedented experience, this unidentifiable flying platter.

Brand new 2022 ‘Amethyst Edition’ repressing.
Includes 2LPs pressed on ‘ghostly’ purple and blue
vinyl, with zoetrope labels and a gatefold jacket.
 ‘South Of Reality’, The Claypool Lennon Delirium’s
epic sophomore album, might be just the antidote
this sick world needs.
 Music so potent it could repel an asteroid impact
from space, these seasoned warriors of
psychedelia have crafted timeless songs that may
as well be chiselled in stone.
 The monolithic dream team’s new record was
produced by Les Claypool and Sean Lennon
themselves and engineered and mixed by Les
Claypool at his own Rancho Relaxo studio in
Sonoma County, California.
 Grab your goggles and a month’s supply of KoolAid because The Claypool Lennon Delirium are
about to take you for a ride on a rock ‘n’ roll rocket
ship and frankly you may never come back.

Debütsoloalbum des renommierten Musikers Bobby Stoker. Bobby verbrachte er seine komplette Kindheit mit seiner Familie im Ausland. Schon früh war ihm klar, dass die Musik sein Leben ist. Seit dem Schulabschluss wagte der Künstler den Sprung und ist seitdem ununterbrochen im Musikbusiness tätig. Stoker hat u.a. mit Größen wie Bobby Kimball (Sänger von Toto) auf der Bühne gestanden, organisiert bzw. begleitet mit seinen Bands große Events und spielt seit Anfang der 90er Jahre jedes Jahr etwa 100 Auftritte. 1995 - 1996 wirkte Bobby bei dem Musical "Tommy" von "The Who" in Offenbach mit und gründete sein eigenes Tonstudio in Frankfurt am Main. Dort lernte er 1999 auch die Ausnahmesängerin Melanie Thornton kennen und schrieb Songs für ihr Debut-Solo-Album "Ready To Fly", das 2002 den Gold-Status und Platz 3 der deutschen Album-Charts erreichte. Ebenfalls 2002 gründete Bobby die Produktionsfirma "Vivid Music Productions" (V.M.P) für den Bereich Eventplanung. Bis heute hat sich "Vivid Music Productions" als Künstlerpool etabliert und führt rund 100 Events jedes Jahr durch. Seit 2018 ist Bobby Mitglied bei Go Music, der Tour-Band von ex Klaus Lage-Bassist Martin Engelien und spielt dort zusammen mit Ausnahme-Musikern, wie Pitti Hecht (Percussions - Scorpions), Cherry Gehring (Keyboarder - Pur), Benne Neuner (Drums - Glasperlenspiel) oder Dirk Brand (Drums - Axxis). Während der Pandemie gründete er sein eigenes Label und begann mit den Arbeiten zu seinem Soloalbum "Everglow" 12 eingängige Rock Songs entstanden, die mit einem gehörigen Schuss Blues & Soul versehen wurden. Als Studiomusiker begleiten ihn bekannte & etablierte Namen wie Willy Wagner (Fish/Marillion, Bobby Kimball, Tony Carey/Rainbow) am Bass und Sänger wie Oliver Hartmann und Ina Morgan von Avantasia, die den Part der Background Vocals übernahmen. Konzerte für Herbst/ Winter 2022 sind in Vorbereitung.

Frankfurt - Mumbai, Loops und Ragas, Elektronik, Jazz und eine Prise Krautrock. Ragawerk spannen neue Saiten zwischen Europa und dem indischen Subkontinent - und bespielen sie virtuos. Das neue Projekt von Max Clouth und Martin Standke entwickelt treibende Grooves, kosmische Klangpanoramen und tiefgründige Meditationen. Fluide Sounds treffen auf kantige Beats, raumöffnende Gitarrenklänge schweben über den elektronischen Schraffuren eines Modular-Synthesizers. Indische und westliche Klangelemente verschmelzen zu einer einzigartigen Fusion. Die Wurzeln der Band im Jazz bleiben dabei unverkennbar. Aus indischen Ragas und europäisch geprägtem Jazzhandwerk wird Ragawerk. So heißt auch schlicht und einfach das Debütalbum.

A reissue on black vinyl of the cult 1982 soundtrack to Tron by legendary electronic pioneer and composer Wendy Carlos (The Shining, Clockwork Orange). The music, which was the first collaboration between Carlos and her partner Annemarie Franklin, featured a mix of an analogue Moog synthesizer and GDS digital synthesizer, along with non-electronic pieces performed by the London Philharmonic Orchestra. Two additional musical tracks (“1990’s Theme” and “Only Solutions“) were provided by the American band Journey. This is the first reissue of the black 18 track 1 LP vinyl. 2022 will mark the 40th anniversary of the Tron Franchise. The original film tells the story of computer engineer Kevin Flynn who finds out that an executive at his company, has been stealing his work. Flynn tries to hack into the system but instead is transported into the digital world of The Grid , where he has to battle Sark, and the imposing Master Control Program. Helped by Tron (a security program) and Yori , Flynn becomes a freedom fighter for the oppressed programs of the grid. The soundtrack perfectly captures the geometrically intense landscapes of cyberspace and the virtual gladiatorial computer game.

Round number four on the Frank Music Rarities series: Music that deserves being cut on a platter. "Come Closer" may sound like a long-lost Chicago House record from the late 80's but it's new. Jakob Mäder rides on a melody you've never heard before, still all about the love. On the flip you shall find two songs out of Iron Curtis' & Johannes Albert's current "Moon III" album. Oui madame, the french touch arrives via "Enjoy" and a little pop music shines through "Something Unique" featuring Indie rockets Zoot Woman on vocal duties.