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Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

Dafuniks is a full live band based on a core of samples and Breakbeats plus various vocal appearances. It will blow your mind with references to the cradle of hip-hop and inspiration from the 60’s and 70’s Funk and Soul.

Remixes from Aube-Joie 01 . Pressed 100 copies with printed sleeve.

Ep starts with a Doom-like tune turning psychede
Second remix from gruiiik brings a breakcore amen-breakless banger. Brutalistic !
The flip opens with a OlgaZzz superb hardcore remix. Minimal and progressive... twisting and pityless !!! Brillant ! My fave on this EP.
14Anger finishes the job with a loud indutrial techno remix !! Hell time !

Deathchant LP10 anthem that been never repressed is avaible again with 3 gambling remixes (Hellfish album from 2014 was it 2014 already ?) This kind of tool on Deathchant only a Turntablist can understand... few of the deejays can nowadays... ahaha ^^ and this in an excellent news Mister Hellfish keeps thinking of you girls and boys !

Released in 1981 and seamlessly blending passion, sleaze and synths, this was the stunning debut album by the influential duo Soft Cell. The album's critical and commercial success was helped by the worldwide success of its lead single single 'Tainted Love', a cover version of a soul song by Gloria Jones, which topped charts worldwide. The album produced two more wonderful top five singles in the UK in the shape of 'Bedsitter' and 'Say Hello, Wave Goodbye'. Meanwhile the infamous 'Sex Dwarf' caused something of a national furore. Bravo, Soft Cell! 180g, Back To Black vinyl with an MP3 Download voucher.

John Prine’s self-titled debut album continues to sound as fresh as it did back in 1971, with Rolling Stone ranking it amongst its 500 greatest albums of all time. It includes some of Prine’s finest works such as “Sam Stone,” “Paradise,” and the famous “Angel From Montgomery.” After initially being spotted by famed singer-songwriter Kris Kristofferson, John Prine’s debut album earned him a number of admirers, including the likes of Bob Dylan. Tracks such as “Paradise” resonated with many, quickly becoming a bluegrass standard. Originally written by John for his father, the track has since been covered by a number of artists such as Johnny Cash and The Everly Brothers.

John Prine, who passed away in April, was one of the most celebrated singer/songwriters of his generation and recipient of the 2020 Grammy® Lifetime Achievement Award. Considered a true folk-singer, Prine was known for his raspy voice and equally admired for his unique songwriting ability. His career spanned over five decades, during which he created witty and sincere country-folk music that drew from his Midwestern American roots and incorporated sounds from rockabilly, R&B and rock 'n' roll.

In addition to earning the Lifetime Achievement Award this year, Prine also won Grammy® Awards for The Missing Years (1991) and Fair and Square (2005). His songs have been recorded by a long list of well-respected artists, including Joan Baez, Johnny Cash, Bonnie Raitt, Kris Kristofferson, Carly Simon, George Strait, Norah Jones, John Denver, Miranda Lambert, The Everly Brothers, Bette Midler, Paul Westerberg, Tammy Wynette and Dwight Yoakam.

clear red & blue mixed vinyl

- "Gut-churning bass" - The Wire
- "a deep dive into UK soundsystem forms, half-time bass pressure and lucid electronics" - DjMag
- "a hell of a journey through a subaquatic scape" - Backseat Mafia
- "evoking oceanic stillness and violence, the song ebbs and flows between delicate rippling and powerful waves" - Fuxwithit
- Plays on Rinse FM France and UK & Tom Ravenscroft BBC Radio 6

30% of profits on this record go to an ocean cleanup organisation TBA

Be not afraid! Whether you’re simply sightseeing, enjoying temporary flights of fancy or considering a more permanent relocation, the all-new Spirit World Field Guide offers twenty-one insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe. The narrator’s vast expertise of multiple global entry points and various modes of interdimensional transport informs a rich tapestry of tips, tricks and tools to unfailingly aid in your ultimate survival. If you are among the countless individuals who find themselves feeling both dead and alive at the same time, the information contained within may serve as an invaluable asset to your journey. Godspeed and good luck."

Re-releasing Bill Withers ‘Greatest Hits’ on vinyl including some of his most loved songs ‘Just the Two of Us’, ‘Lovely Day’ and ‘Ain’t No Sunshine’

Another master piece... Who doubted ? Superb tune from old schoolish Mono-Anime, Newcommer Blocks and my fave Sevenum Six... And a supeber surprise from Onraad. All in one we got here a sweet sour hard acid little perl. Not for the little babies.

First timer ever Best Of Mano Negra on vinyl ! Double black 140G vinyl edition. 24 sons – all their hits : "King Kong Five", "Mala Vida" , "Pas assez de toi" , "Out of time man", "King of Bongo", "Sidi H'Bibi", “Santa Maradona”, “Senor Matenza”… Mano Negra are the legendary French alternative rock band whose leader was Manu Chao. Singing in French, Spanish, English & even Arabic. They toured throughout the world and recorded 4 studio albums : “Patchanka”, “Puta’s fever”, “King of Bongo” & “Casa Babylon” & a live album “In the hell of Patchinko” , all reissued by Because Music and still available on CD & Vinyl. After their split, Manu Chao started a solo carreer in 1998 with the classic “Clandestino” album.

Hell Yeah call upon their merry crew of grown up groove makers to revisit key tracks from Quiroga's widely acclaimed Passages album, with Whodamanny, Jazz N Palms, A Vision of Panorama and My Friend Dario all stepping up.

The original album was noted as Piccadilly Records' Best Balearic Album of 2019 and a year on is still providing solace for us in these strange times. First to add his own spin to it is Periodica associate Whodamanny from Naples, whose magical take on 'Martinica Feelings' made it onto the excellent recent Buena Onda compilation, which is out now. It is a big hearted vocal reinterpretation filled with stomping kicks and twisted synths that bring the funk next to withering sci-fi effects and happy piano chords.

Then, up steps man of the moment Jazz N Palms, a resident at the cult Ibiza venue Pikes and regular at London's Ronnie Scotts. He has recently started his own self titled label and here offers a mad Latin jazz take on 'Africa Addio' that brims with energy and sunshines. The busy percussion will make you move your ass and the whole thing has a sexy 70s vibe.

Saint Petersbourg's very own balearic legend A Vision of Panorama is hailed as the king of the modern balearic sound thanks to EPs on labels like Omena. He takes care of 'The Zoist' with sentimental melodies and sunset grooves to die for. His arching pads speak to the soul and melt the heart.

Last of all, Hell Yeah's very own discovery My Friend Dario (who soon has an EP coming on NuNorthern Soul, recently remixed Calm and Gallo) tackles 'Chiaia Sunset'. The result is a laidback and cathartic track that slowly unfolds on tumbling drums and wooden hits as synths leave vapour trails high up in the clear blue sky above.

These are four more high class remixes that will keep the summer vibes alive long into Autumn.

After a first track very Third Mvt style you'll get a harder tune. defenitly speed for the label...
The flip is Mid-*Tempo dark doomed souning... in the vein of the label !

180g black vinyl Star Birth and downloadcode for "Star Birth" and "Star Death". Gatefold.

'Star Birth' is a flung fisherman's net, mighty in scope, irrevocable as looking up from the stone floor of a cathedral – there is space, yet there is profound intimacy from the immediacy of the lyrics, our thoughts rattling around like panicky goldfish. Race has taken aspects of areas
previously explored, and made a quantum leap into the unknowable. With opening track Can't Make This Up, the gauntlet is flung down – 'what is need, what is greed / it's a new crush, the brain trust/ hive mind rewrite rewind/ falsehood streaming'

'Star Birth' is international maverick and music icon Hugo Race's 15th album with his band of True Spirits. It's a double album and the twin album's name is 'Star Death'. Star Birth was recorded during Australia's bushfire summer apocalypse of 2019 and mixed as the 2020 covid-19 pandemic hit. When the stars align it all makes sense, Hugo explains, adding that one oceanic evening while writing the album a bright star exploded right before his eyes, the sign of a sudden end and a new beginning...

Hugo's writes of trials, tribulations, hopes, fears, heartaches, loves, losses, highs and lows – 'everyday I die a little bit more, in a thousand ways I fight my little wars – and he sings with exquisite pathos and depth, like he's singing just for you about the times in which we live –
political disasters, our planet, the absence and the presence of spiritual values, broken promises, cracked hearts and if any of it really matters anyway. With hell raising lyrics like,Expendable, you'd have to wonder if anyone of us will make it through alive – 'hey sister, are
we all expendable? nobody wins, but so many of you think they do / don't try to fool yourself people, deep down you know the truth - everybody gets their one hot shot but no one's bullet proof'. But then The Rapture reminds us that there will always be stars dying in the glory of
new life – 'give us this day comfort and bread / implant in us the living word / empower us with divine love and deliver us from evil / for you are the one true light / the power and the glory / forever /amen'

Hugo's True Spirit deliver a lush, sonic love letter of rock, electronica and dramatic orchestration, based in blues, hypnotic repetition and sonic exhilaration. Michelangelo Russo is a huge part of this atmosphere; his approach to music is that of an artist with a palette of
mysterious implements and machinery, but the entire band and production is incredible from start to finish. Star Birth is 48 minutes of mind expanding, mind blowing, heel tapping tunes, with its sister album 'Star Death', a dub version of remixes that will send you searching for
your own exploding star somewhere in the sky…

The HIV10B... Second part of the dyptik. (check the sleeves when put together)

Indem er immer neue Kunstformen und Kanäle wählt, um seine Vision zu verwirklichen, ist der Franzose Woodkid im letzten Jahrzehnt zu einer heimlichen Ikone avanciert: Er ist ein audiovisueller Ausnahmekünstler, dessen Werk stets seine Handschrift trägt, obwohl es mit jeder Zusammenarbeit und jedem Release neue Formen annimmt. Dass Woodkid jemand ist, dem es gelingt, eine Brücke zwischen der alten und der neuen Welt zu schlagen, wussten wir bereits. Und das nicht bloß, weil der junge Franzose schon mit etlichen Superschwergewichten der internationalen Popwelt zusammengearbeitet hat: Lana Del Rey und Drake waren da genauso dabei wie Rihanna oder auch Pharrell. Noch entscheidender und außergewöhnlicher ist vielmehr, dass er zu den wenigen Künstlern gehört, die wirklich inter- bzw. multidisziplinär arbeiten, klassische Genre- und Gattungsgrenzen hinter sich lassen, weil ihn einfach so unglaublich viele Ausdrucks- und Kunstformen interessieren und faszinieren. Als Musiker reichte ihm ein einziges Album – The Golden Age –, um damit ein deutliches klangliches und visuelles Zeichen zu setzen und neben unglaublich viel Kritikerlob auch unzählige Fans für sein Projekt zu gewinnen. Und jetzt, nach einer gut fünfjährigen Reife-, Konzentrations- und Experimentierphase, geht er noch mit seinem neuen Album S16 einen Schritt weiter. Aufgenommen wurde S16 in den Londoner Abbey Road Studios sowie in Berlin, Paris, Los Angeles und Island

Repress

Vienna based artist jeånne maintaining ancient aesthetics on A side. fast pacing acid structures under aggressive beats, enveloped in melancholic strings and melodies.

DJ DISRESPECT aka Toni Moralez already proven his strong production skills on this and also other labels. He is now delivering two adrenaline kicking, schranz-like dancefloor destroyers out of the depths of Frankfurt am Main.

Hello Sailor Recordings is back with its first (and last) release of 2020, this time with another excellent addition to the beloved 7" series.
The chaotic sounds and lyrics of 'Sera que eu to Pirada' originally released in 1995 by short lived band Silvanna & A Maquina do Tempo, feels current amidst the challenging times we face and it's accompanied by 'Vem Viver Pra Mim' on the flip side.

Both songs were elegantly edited by Sao Paulo mystery producer Hotaru for this Brazilian holy grail of early electro and proto-house

Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

"Lugar Alto's newest project is the idiosyncratic album MUMIA (portuguese for MUMMY). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music.

Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo.

Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: “Agentes / Angra” from 1982 and “Professor Digital / Cidade Industrial” from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality.

Similar to Agentss, MUMIA brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country.

It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song “Ave do Deserto”. In the final two tracks, it is possible to enjoy a darker MUMIA, which with “Massacre da Serra Elétrica I” and “Massacre da Serra Elétrica II”, provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero.

The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak’s texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album.

MUMIA was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation “Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94)”, released by Soundway Records.

Now, after 32 years in its tomb, the MUMIA has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."

With Dead Planet Oliveri has taken a band once considered a side project and turned it into a full-fledged rock and roll powerhouse. As has been his trademark when he had written songs with Kyuss or QOTSA, this album just oozes with punk rock ethos. Combined with the stoner rock influences that he helped create, this album is a study in excess and self-indulgence. And that is exactly what makes it so damn good. - Ed Thompson

Industrial pityless hardcore at the noize frontier... A bloody shouting sound from someone coming back from hell... to bring you there !

The Dead Ninjas are Hellfish & The Teknoist !
An overdrived kicker of a rap dealer... Banging ganja tunes inna Deathchant dancefloor awakening time !
Check the flip and this wicked "One Spliff A Day" from Sister Nancy remake !

BIG FAT !

TRANSPARENT 100% pure vinyl LTD EDITION

Les Ya Toupas is a band formed in 1976 by Bopol Mansiamina (Bass - Success Mode, 4 Stars ..), Manuaku Waku (aka Grand Zaiko Wawa) and Ray Lema (Piano, Organ and Guitar) Between 1976 and 1978, they recorded several 7inches including the famous title “Je ne bois
pas beaucoup” (1976) compiled on the series of Sofrito (Tropical Discotheque ) in 2011. In 1978, they recorded this unique and unclassifiable instrumental album, Les Ya Toupas du Zaïre, produced by Gérard Akueson (founder of Akue Records and Abeti's producer). The LP is composed of minimalist Afro Jazz rhythms and Deep Funk grooves that are close at times to a tropical trance, all played by musicians who used to offer more classic Rumba rhythms.
It is their only album before the departure in 1979 of Ray Lema for the United States and then France. Ray Lema's departure follows a violent disagreement which opposed him to the dictator Mobutu then in place in Zaïre. Let's not forget that the album was released in 1978 and can be seen as their last musicial project

Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

Brand new release on SARIN’s X-IMG imprint…

SNK, Brave Wave Productions and Limited Run Games are proud to reveal their fifth collaboration, Generation Series 012: Fatal Fury for both CD and vinyl. Known as Garou Densetsu (餓狼伝説) in Japan and originally released for NEOGEO in 1991, Fatal Fury is one of SNK’s earliest, but also most popular 2D fighting games. The soundtrack, composed by TARKUN (Toshikazu Tanaka), features catchy and exciting tunes for each character in the iconic SNK fighters lineup.

This release marks the first time the soundtrack of Fatal Fury will be made available on vinyl. As with all Generation Series and other Brave Wave releases, this release will be remastered specially for vinyl, CD and digital (via a free download code included with the vinyl edition) and restored to the highest possible quality. The rest of the package will include our usual offerings, including high-resolution artwork and liner notes contained in a full-color booklet.

As a special bonus, Side B of the vinyl (the final track on the CD) will contain the track The Hero Raiden -ROF Arrange ver.-, which was originally featured in the 2015 mobile title The Rhythm of Fighters. The bonus track, an arrangement of the original song from Fatal Fury, was composed by TARKUN.

Hello Everybody,

I hope that you will have as much enjoyment from my music here as I had performing it!! I would like at this time to give you a little "History" of myself and as to how I came to love the music that I play! Coming from a "Musical Family"; my father was Tyree Glenn, Musical Director and Trombonist with Louis Armstrong and played with the likes of Cab Calloway and Duke Ellington among others and my brother, Roger Glenn, a very "Talented Musician" in his own right, it was not difficult for me to be "Influenced" and get into "Show Business" as a Musician and Entertainer! My early years in the "Fifties" were spent playing the Saxophone with my "Teenage Band" in New Jersey and later, after 4 years at Marietta College in Ohio, in the "New York City Area" in the "Sixties"! As the song goes: "IF YOU CAN MAKE IT THERE, YOU CAN MAKE IT ANY WHERE" which I did and it was in New York City where I got my "Musical Education" which would become a part of me for the rest of my life! In the "Mid-Sixties", I was offered a "Partnership" in a Night Club in the Algarve Portugal and readily accepted the chance to perform "In My Own Club"! Moving on to Lisbon after a few successful years in the Algarve, I performed in TV and recorded records there in Lisbon! By the way, I played Professional Basketball for "Benfica Lisboa" which was and remains to this day, my "Big Love for Basketball" and was to be a big part of my life! From Lisbon, I eventually went on to live and play in Italy in the early Seventies with Rocky Roberts. Returning to Lisbon in the mid-Seventies, I worked with my buddy from my "New York City Days", the very talented "Singer & Entertainer" Wayne Bartlett, and we formed the "Duo": "Wayne & Tyree" and performed in the Casinos in Portugal! We accepted an offer to perform our show in Germany and as things worked out, I have been living and playing my music here since 1976! I have enjoyed bringing my "R&B" to everyone and showing just a little bit of how it was performing "R&B" in NYC back in the "Sixties"! I hope that you will enjoy this Compilation of my work here in Germany from the past years and I would especially like to thank Tramp Records for making this record possible and being a "True R&B Fan" of Tyree Glenn Jr. and my Music!

Banging sound from hell ! SUPERB TUNES ! Needed

Optimo Music presents “Vanessa 77” the debut album from New Zealander Vanessa Worm. Originally due in May it was rescheduled due to the lockdown but we couldn’t wait any longer to get it out into the world, so here it is, on vinyl and digital.

After entrusting us to release 3 much loved singles it seemed right to let Vanessa stretch out across an album and show the world what she is about and how talented she is. Vanessa is exactly the kind of artist Optimo Music dreams of finding; her music fits in with no genre and no scene – it is its own genre and its own scene. Musically free and anarchic, Vanessa conforms to nobody’s dogma. Before lockdown Vanessa played a series of Southern Hemisphere live shows that entranced all who saw them. Hopefully next year she can come and do the same in the Northern Hemisphere.

We asked her for a few thoughts about her album. Vanessa says – “Vanessa 77, like most creative endeavours is a journey of self discovery. Mentally, emotionally and creatively. I spent most of my time alone in winter 2019 – focused solely on personal development & self realisation via the creation of this album. It was a way for me to put my mental state onto a plate – the joys, the fears, the epiphanies, and so on. I so desperately wanted to share what I was learning with the world too – I intended for Vanessa 77 to help others to heal, self-realise and alchemise. It was a 9 month process of death and a re-birth from the old into the new. Much like the world is experiencing now entering 2020, I hope this album can provide some form of healing, soothing, celebration and act as a sub-conscious guide for us as we enter into this New Earth. Thank you to all who listens, enjoy!”

Like the Grass documents and reimagines a warm summer's evening in Basel, Switzerland, in June 2018. Four musicians convened: Johannesburg composer and bow expert Cara Stacey, South African violinist and composer Galina Juritz, German harp player Antonia Ravens and Swiss guitarist and sonic explorer Beat Keller.

Together they improvised using a graphic score titled "Luhlata njengetjani" ("Green like the grass" in the southern African Siswati language), inspired by the rivers of eSwatini, blackbirds in the parks of Basel and the evocative, red-flowered umcinci or erythrina tree. The South African umrhubhe mouthbow's dense harmonics folded around skittering, fractal violin loops; temperate swells of guitar were punctuated by agitated harp pings and the hearty thuds of Ugandan and Mozambican lamellophones.

This joyous, unfettered outpouring criss-crossed between southern Africa and Europe, forwards and backwards, for the following two years. The fruits were unpicked and rewoven into new mosaics by Cara, Galina, and two of our favourite recording artists, Object Agency and Hello Skinny.

Recorded as part of Cara Stacey's studio residency in Basel, Switzerland, supported by ProHelvetia Johannesburg.

A wicked triple gatefold album... anthologic of the underground hardstyle newslkool crossing the old school road and finally pushing a superb talented

"AngstLust is a project of Kris Baha and Niklas Wandt merging their influences of early electronics into one hell of a sonic ride."

Melvin Bliss’ iconic ‘Synthetic Substitution’ (1973) has been sampled hundreds of times. Gracing records from Naughty by Nature’s ‘O.P.P’ to Public Enemy’s ‘Don’t Believe the Hype’, it’s one of the foundations of hip-hop. However, there’s a school of thought that says the sample could have been retired forever after Ced Gee used it for ‘Ego Tripping’. It was the first song to use those wonderful Bernard Purdie drums, and arguably the best.

Their first release on Next Plateau Records, this instant 1986 classic slams from the first bar, that hard-as-hell beat underpinned by stabs and the breathy ‘ultra-magnetic-magnetic’ chant beneath. Meanwhile, Ced and future legend Kool Keith go to town with pseudo-science and a thinly veiled diss of Run DMC – ‘Say what, Peter Piper, to hell with childish rhymes’. It’s a song shot through with promise they’d more than fulfil on their debut album, 1988’s landmark ‘Critical Beatdown’.

The flip, ‘Funky Potion’, doesn’t coalesce with quite the same genius but is still more than a curio, with the MC’s doubling down on their futuristic nonsense approach to lyricism. Rufus Thomas’ ‘Do the Funky Penguin’ is the base for yet more stabs, discordant scratches and a kitchen-sink approach that shows just innovative the group were prepared to be.

Never before released before on 7”, this undeniable hip-hop classic comes complete with bespoke hype stickers incorporating one of the great rap logos of all time.

Louis Armstrong is one of the most important jazz musicians. He belongs to those who transformed the local music scene born in the Southern States of the United States - around New Orleans - into an international language.

It was in the 1920's, in Chicago, that he recorded his first records with His Hot Five and His Hot Seven. His personality and his natural enthusiasm, combined with his talent as a trumpet player and singer, helped him pave his way to success.

He traveled the United States with his orchestra throughout the 1930's and the 1940's, and appeared on television sets from all around the world throughout the 1950's and the 1960's. In five decades, Armstrong's music had evolved into jazz music, then known as a familiar universal language, popular on five continents.

The four sides of this double album revive the history of jazz, from "Muskrat Ramble" to "Hello Dolly".

Debüt-EP des Londoner Duos Jockstrap (Georgia Ellery & Taylor Skye) auf Warp. Jockstraps Mixtur aus harten Dubstep/Industrial-Beats, klassischer Komposition und verdrehten, zum Teil perversen Fantasy-Erzählungen begeisterte die Fachmedien (Dazed, Pitchfork, BBC 6Music, The Quietus, The Face, The Guardian) bereits bei ihrem Einstand, der digitalen "Love Is The Key To The City" EP (2018, Kaya Kaya Records), woraufhin es Lobeshymnen hagelte und Warp Records das Duo vom Fleck weg signte. Die beiden Künstler kollaborierten einzeln und zusammen bereits mit Underworld, Dean Blunt, Injury Reserve und Damon Albarn's Africa Express, zudem spielte Georgia Ellery in dem mehrfach prämierten, britischen Film "BAIT".

- "My favourite avant-garde situationists." - Mary Anne Hobbs (BBC 6Music)
- "One of my favourite bands." - Matt Wilkinson (Beats1)
- "Jockstrap are giving classical romance a surreal twist." - The Face
- "Melodiously sweet and sophisticated yet tempered by bursts of naivety and caustically fucked up-ness." - The Quietus
- "I don’t know what kind of music Jockstrap are making right now, but I like it." - The Fader

It's auspicious that Sonic Boom-the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)-returns in 2020 with its first new LP in three decades. Kember's drawn to the year's numerological potency, and this intentionality shines into every corner of All Things Being Equal. It's a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness-everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives. Sonic Boom's second album and first for Carpark began in 2015 as electronic jams. The original sketches of electronic patterns, sequenced out of modular synths, were so appealing that Stereolab's Tim Gane encouraged Kember to release them instrumentally. "I nearly did," confesses Kember, "but the vibe in them was so strong that I couldn't resist trying to ice the cake." Three years later, a move to Portugal saw him dusting off the backing tracks, adding vocals inspired by Sam Cooke, The Sandpipers, and the Everly Brothers (which he admits "don't go far from the turntable pile"), as well as speculative, ominous spoken word segments. His new home Sintra's parks and gardens provided a different visual context for Kember's thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. "Music made in sterility sounds sterile," he says, "And that is my idea of hell."

Salt Lake Citys Indie-Pop-Lieblinge Choir Boy melden sich nach vier Jahren mit der Veröffentlichung ihres neuen Albums "Gathering Swans" zurück. Mit der emotionalen, kraftvollen und von Pop-Nostalgie durchfluteten Platte, treiben Choir Boy ihren unverwechselbaren Sound auf eine neue Ebene. "Gathering Swans" steckt voller mitreißendem Herzschmerz und zeigt die Band von einer zärtlichen, romantischen Seite. Choir Boy startete als das Projekt von Sänger Adam Klopp, mit ständig rotierenden Bandmitgliedern. Inzwischen haben Choir Boy eine feste Besetzung bestehend aus Klopps langjährigem Wegbegleiter und Bassisten Chaz Costello, dem Saxophonisten und Keyboarder Jeff Kleinman und dem Gitarristen Michael Paulsen. 2016 veröffentlichten Choir Boy ihr, von der Kritik gefeiertes, Debütalbum "Passive With Desire", auf welches 2018 die Single "Sunday Light" folgte. Nach einer Reihe von Tourneen mit Acts wie Cold Cave, Snail Mail und Ceremony begannen Choir Boy mit dem Schreiben ihres neuen Albums. "Gathering Swans" erweist sich als ein würdiger Nachfolger und baut auf Choir Boys mitreißendem Sound mit poppiger Sensibilität auf. Das Album überzeugt mit seinem berührenden "Choral-Pop"-Klang, der zu einem Markenzeichen von Choir Boy geworden ist. "Gathering Swans" ist kreativ, authentisch, leidenschaftlich und schrill. Hinter dem melancholischen, tief emotionalen Grundton von "Gathering Swans" zeigt sich eine helle und hoffnungsvolles Aussicht.