Cerca:the roots

Multi-instrumentalist Oscar Browne's roots lie in the foundational intricacy of golden-age songwriting A founding member of the London based folk- collective Broadside Hacks (amongst other banded- ventures), Oscar Browne's debut solo endeavour 'Never Quite Right' was released in 2022 to critical acclaim; an established inauguration which saw him eventually signing to So Young Records in the spring of 2023. Following a six-month spree in which Browne found himself tirelessly writing in order to process the changes taking place around him, the five songs which would eventually go on to form his debut EP 'If Only', are a deep- dive into the heart and soul of an artist who masterfully captures all the joys and heartaches of life in your early-twenties. Recorded over one week at Bristol's The Playpen, home to producer Ali Chant (Aldous Harding, Katy J Pearson), 'If Only' was all-in-all, a long time coming. Selfaccustomed to doubling things up and hiding imperfections, it was through the art of collaboration, and Ali's teachings in the power of emotional transparency that the pairing of Browne and Chant really shined. "Ali was a massive part in keeping the recordings minimal" notes Browne "he kept the rawness". Oscar Browne's creative- capability is a limitless array of captivating delights. These aren't simply re-interpretations of eras gone by. Browne channels as much Ben Howard or Kurt Vile as he does Nick Drake and John Martyn. Rather, it's through his ear for musical- lucidity, highlighted throughout the course of these selected songs, that enables Browne to transport his love of traditional folk and folklore, into a uniquely contemporary realm. His fearlessness in baring- all to those who'll listen creates an artistic magnitude will only keep growing with fine prowess, as Browne continues to cut his teeth as a beguiling 'one to watch'

Run-D.M.C. leaves no doubt about its intent on King of Rock. The New York trio's hard-hitting sophomore album begins with a statement of purpose ("Rock the House") that serves as a stereophonic primer for the title track, a hybrid warning-anthem-theme song that swarms with justified boasts, heavy metal riffs, booming beats, cowbell accents, and dance-worthy grooves. The back-to-back tunes set the tone for a 1985 record that largely established the blueprint for the hip-hop that would follow for the next two decades – and which helped make rap a mainstream currency via the previously off-limits channels of radio, TV, and the national stage. "It's not Michael Jackson/And this is not Thriller," the group broadcasts early on in the record. Truer words – and music recorded with such honesty, pride, rawness, and integrity – have seldom been committed to tape.

British rock legend GRAHAM PARKER returns with his first album of new material since 2018. LAST CHANCE TO LEARN THE TWIST finds the veteran singer-songwriter in top form, offering up thirteen new compositions with exquisitely tasteful backing by The Goldtops (bassist Simon Edwards, drummer Jim Russell, guitarist Martin Belmont and keyboard player Geraint Watkins) and frequent contributions from the Easy Access Orchestra horns and backing vocal duo The Lady Bugs. It's a dazzlingly diverse album: sweet classic soul grooves and roots rock sounds dominate, framing lyrics dripping with Parker's vintage "Wicked Wit" (as one song title has it) and his inimitable, impassioned vocal delivery. Two early singles have hinted at the record's depth: the devastatingly stark "We Did Nothing" with its heartbreaking examination of the cost of inaction on both the personal and global stages, and the delightfully playful reggae-tinged "Them Bugs." The beautifully bittersweet ballad "It Mattered To Me" is set to follow, while the folk-informed meditation on mortality "Last Stretch Of The Road" has proven an instant fan favorite at recent solo performances. But there's much more waiting to be discovered on the full album, which is at once one of Parker's most relaxed and boldest statements to date.

Death metal is the great undead of subgenres: rising, again and again, to take revenge on the living with maximum violence. Servants of the zombie code and masters of old school brutality, Germany’s ENDSEEKER have made their intent to kill again more than apparent over the last nine years. Formed in Hamburg in 2014, the quintet have swiftly built a reputation as one of European death metal’s most dynamic wrecking crews. From the aspirational evisceration of first full-length Flesh Hammer Prophecy, to Metal Blade debut The Harvest in 2019, and the widely acclaimed Mount Carcass two years later, Endseeker have cooked up such a formidable formula that their rise to glory seems almost inevitable. But like everyone else, they were stopped in their tracks by the Covid pandemic and its aftermath. As that global horrorshow fades in the rear-view, Endseeker are poised to return with their most crushing and charismatic album to date: Global Worming Death metal is a serious business and Global Worming is Endseeker’s most focused and sophisticated offering to date. Nonetheless, there is always room in the underground sewers for a brain-eating monster or two, and fans of zombie-centric death metal will be more than satisfied with the new album’s brilliant, bloody contents. Consumed in its belligerent entirety, Global Worming soon emits the acrid stench of a future classic. Endseeker have stayed true to their deathly roots, while also writing some of the most imaginative songs in their history. Supremely catchy but as brutal and ugly as the arcane gods demand, Global Worming promises to burrow under the world’s skin with maximum force.

Wewantsounds is delighted to announce the release of "TOUCH," a selection of sought-after tracks produced by Yuji Ohno, one of the most revered producers and arrangers on the Nippon music scene. His blend of Jazz, Space Funk and Disco have long been highly sought-after by DJs around the world and we've been given unique access to the Nippon Columbia vaults and to Mr. Ohno himself to come with a versatile selection from his 70s body of work, all bearing his uniquely recognisable sound. The set includes works with singers Nanako Sato, Hatsumi Shibata and Ken Tanaka alongside tracks from his cult anime soundtracks for "Lupin III" and "Captain Future." Approved by Yuji Ohno himself, "Touch" was remastered in Tokyo by Nippon Columbia and features liner notes by Nick Luscombe in conversation with the maestro and artwork by Optigram's Manuel Sepulveda.

Born in Atami in 1941, Yuji Ohno started learning the piano at a young age and formed his own band during his teenage years, getting into Jazz in the process. After high school, he entered the prestigious Keio University in Tokyo and played in the revered university big band alongside two other pianists, Masahiko Sato and Hirosama Suzuki, who would have an illustrious career in their own right. After University, Ohno became a professional musician and started playing with the new wave of Japanese Jazz musicians forming his own trio and recording with the likes of Hideo Shiraki, Terumasa Hino and Masahiko Togashi from 1967 onwards.

At the turn of the 60s, Ohno started to veer away from the Jazz scene as he realised, as told to Nick Luscombe that "the jazz music being played by the Japanese at the time was only chasing the cutting edge, and was ignoring the roots and origins of jazz." Ohno therefore shifted his efforts to film and TV and also to producing artists for various Japanese labels, becoming one of the most in-demand composers, arrangers and producers in Japan. This is when Ohno developed his unique sound across a wide variety of styles. More than anything else, he got renowned for his anime soundtracks, particularly with the Lupin III series - represented here by the superbly funky "Silhouette" - which made his fame in Japan

Whether it's jazz, funk, disco or Pop, the "Ohno Sound" is unmissable both in terms of melodies and arrangements, on a par with those of such legends as Quincy Jones and Michel Legrand. Ohno's melodies are sophisticated yet accessible and there's a great sense of space in his productions especially when it comes to slow-burning grooves as heard on "Kirameku Inner Space" from the cult anime soundtrack "Captain Future" or "The Soaring Seagull" from the sought-after 1975 album "Electro Keyboard Orchestra." This album was recorded with seven fellow musicians including Kentaro Haneda and Ohno's old friend, Masahiko Sato and using twenty Korg synths to create a unique blend of futuristic jazz funk. "The Soaring Seagull" could be the perfect embodiment of Ohno's signature sound when it comes to instrumentals. The producer was however equally at ease with producing lush disco extravaganzas such as "Subterranean Futari Botchi" by Nanako Sato or "I Wish You Love" by Hatsumi Shibata, a revamp of Charles Trenet classic, both colourful and glitzy.

Ohno's versatility is on display here with a couple of jazz vocal tracks, "Speak Low" by Ann Young accompanied by the Yuji Ohno Trio and Mieko Hirota's fast and furious "I Want to Be Happy" while he also excelled at crafting gorgeous mellow songs such as Ken Tanaka's "Lilac-gai No Aki" and Hatsumi Shibata's "Mouichido Kikasete" closing the selection on a perfect note. "Touch" is just a tiny selection from Yuji Ohno's immense body of work and it will hopefully open the ears of Japanese music lovers to one of the most important musician, producer and arrangers of his generation.

With the label MPS, post-war musical history was written in Germany: noble music productions with many international greats come from the Black Forest and are timelessly legendary. In this tradition, HGBSBlue releases selected projects on high-quality vinyl.

The DLW trio has been working together for twelve years now and is now setting the tone in the modern European music scene, as the trio has long since left the boundaries of jazz behind. DLW, that is the sound-painting vibraphonist Christopher Dell, the virtuoso Danish bassist Jonas Westergaard and the German star drummer Christian Lillinger.

Time and again, the three jazz musicians from Berlin play together with artists from classical or avant-garde music. "Supermodern"
is the project that brings the three DLW musicians together with US pianist Bob Degen. This music is also unikal. It is a reverence
to the legendary Modern Jazz Quartet (MJQ), which in the 1950s was the link between chamber jazz and European classical music.
With "Supermodern," this reference to the MJQ is illuminated from the perspective of European avant-garde music, rather than
its African-American roots, which nevertheless resonate respectfully throughout.
DLW has "developed a concept based on repetition and difference. The starting point for a piece is always a single bar, which is
rhythmically interlaced and repeated trance-like until the smallest irregularities occur, which are written down and creatively
processed further. From this "superimposed combinatorics" (Christopher Dell) a perpetuum-mobile-like sound movement
develops, which is further radicalized on record by sound alienations and cut-up techniques." Thus respectfully wrote the Neue
Züricher Zeitung in August 2023.
Word has long since spread outside the German jazz scene that the DLW projects are always musically new. This is also the case
with the double LP "Supermodern 2", with recordings made in 2021 in analog at the MPS studio in the Black Forest. Together
with US pianist Bob Degen, who has been one of the creative voices of the German jazz scene for about 50 years, they play highenergy music, with sparkling virtuosity and close communication. A musical treat, further enriched by the immensely present
analog sound of this recording.

Death metal is the great undead of subgenres: rising, again and again, to take revenge on the living with maximum violence. Servants of the zombie code and masters of old school brutality, Germany’s ENDSEEKER have made their intent to kill again more than apparent over the last nine years. Formed in Hamburg in 2014, the quintet have swiftly built a reputation as one of European death metal’s most dynamic wrecking crews. From the aspirational evisceration of first full-length Flesh Hammer Prophecy, to Metal Blade debut The Harvest in 2019, and the widely acclaimed Mount Carcass two years later, Endseeker have cooked up such a formidable formula that their rise to glory seems almost inevitable. But like everyone else, they were stopped in their tracks by the Covid pandemic and its aftermath. As that global horrorshow fades in the rear-view, Endseeker are poised to return with their most crushing and charismatic album to date: Global Worming Death metal is a serious business and Global Worming is Endseeker’s most focused and sophisticated offering to date. Nonetheless, there is always room in the underground sewers for a brain-eating monster or two, and fans of zombie-centric death metal will be more than satisfied with the new album’s brilliant, bloody contents. Consumed in its belligerent entirety, Global Worming soon emits the acrid stench of a future classic. Endseeker have stayed true to their deathly roots, while also writing some of the most imaginative songs in their history. Supremely catchy but as brutal and ugly as the arcane gods demand, Global Worming promises to burrow under the world’s skin with maximum force.

This classic selection of songs is taken from her first prodigious burst of creativity when she recorded with her then-husband Kansas Joe McCoy.

If ever a title was justified, then 'Queen of the Country Blues' is the bare minimum that should be afforded to Memphis Minnie, a lone female voice in the maledominated country blues scene whose musical legacy is nothing short of remarkable. Minnie transcended both gender and genre and her recording career spanned from the late 1920s heyday of country blues to the cutting-edge Chicago scene of the 1940s & 1950s, where she helped pioneer the roots of elctric blues, R&B and rock 'n' roll.

This collection highlights the formative years of Minnie's career as part of the duo and includes accomplished blues numbers such as 'Memphis Minnie-Jitis Blues', probably based on personal experience, as well as 'Bumble Bee' their first recorded song and one of Minnie's most successful of her hundred or so songs that she recorded before retiring in the mid-1950s.

The popularity of speed/thrash metal in the late 80's and early 90's is undeniable.

After the demise in the late 80's of cult speed metal band BLOODLUST, Sandy K and John Lisi embarked on a new project, remaining true to their roots in fierce and fast metal. With the addition of Jeff Mohr and A.J. Cavalier to the group, LAST RITES emerged, wanting to assert themselves as a "schizophrenic speed metal" band.

And that's exactly what we can expect from LAST RITES! In this vinyl release, where we put together the band's two cassette recordings ("Don't Be Denied" from 1990 and "Agony" from 1991), we can find a perfect example of the speed/thrash of the turn of that decade: fierce, intense and uncompromising, roaming on themes of personal despair and social criticism

Sattyg is the twelfth full-length album by progressive rock band Kaipa.

The unique mix of Swedish folk music, rock and fusion with a tinge of medieval music has given the band a special place in many peoples heart all around the world. The magic sense of wonder that characterizes their latest albums has been taken to a new level with “Sattyg”.

Unpredictable paths are discovered on this new expedition and as always they take you to explore new exciting horizons but at the same time the band returns to its roots to bring you familiar classic Kaipa music. Now available on vinyl in a new colour!

Sattyg is the twelfth full-length album by progressive rock band Kaipa.

The unique mix of Swedish folk music, rock and fusion with a tinge of medieval music has given the band a special place in many peoples heart all around the world. The magic sense of wonder that characterizes their latest albums has been taken to a new level with “Sattyg”.

Unpredictable paths are discovered on this new expedition and as always they take you to explore new exciting horizons but at the same time the band returns to its roots to bring you familiar classic Kaipa music. Now available on vinyl in a new colour!

Sattyg is the twelfth full-length album by progressive rock band Kaipa.

The unique mix of Swedish folk music, rock and fusion with a tinge of medieval music has given the band a special place in many peoples heart all around the world. The magic sense of wonder that characterizes their latest albums has been taken to a new level with “Sattyg”.

Unpredictable paths are discovered on this new expedition and as always they take you to explore new exciting horizons but at the same time the band returns to its roots to bring you familiar classic Kaipa music. Now available on vinyl in a new colour!

Surya is a project from Rome formed by Joe Casagrande, Matthew Mountford and Roberto Lycke. Born in 1995 with consistent dub roots influenced with breaks and ethnic music samples.

The duo was quite active in the Roman scene in the late '90s, collaborating with clubs like GOA, Brancaleone, MCA and playing with seminal groups like ORB and Loop Guru.

"Wide Tuning" is Surya's first record, an extremely unique debut that goes beyond dance music boundaries. Self-produced in 1997 and released only on cd until now.

The long awaited official reissue of ‘She Wants’, one of the first UK Street Soul singles originally released in 1985 by The NM Band.

The NM Band was an alias for UK Lovers Rock band Natural Mystic, responsible for a number of hits in the late 70’s and early 80’s most notably ‘Runaway Love’ and ‘Groove Rocking’. They released a string of acclaimed reggae LPs and toured extensively throughout the UK, but by 1985 wanted to try something away from their trademark roots reggae sound. Influenced by the availability of affordable hardware the band set about fusing Reggae and Soul using an Akai Drum machine, Yamaha DX7 and Roland sound module. ‘She Wants’ is one of the forebearers of UK Street Soul, raw machine drums paired with an incredibly soulful vocal from Ashley Sommers. The band created their own imprint ‘Mixdown’ to release the single, but it slipped under the radar, despite strong radio play from Choice FM and the then pirate station Kiss. The 12” is backed with Dub Version ‘She Wants’ (More).

A 140gram pressing in 3mm spine black disco sleeve with metallic sticker designed by Bradley Pinkerton.

Joris Feiertag is a Dutch producer and drummer from Utrecht in the Netherlands who makes music that is a finely balanced blend of organic and synthesized elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba. Roots is his third album on revered German imprint Sonar Kollektiv. The LP features not only a plethora of vocalists from across the globe, but also sees the producer playing with obscure samples and sounds, as he attempts to discover a new direction and find that sweet spot between dark and light; major and minor; new and old; uplifting electronica and soul

Als Support der Dropkick Murphys Tour im Frühjahr 2023 brachte Jesse Ahern tausende Fans dazu, seine bis dahin unveröffentlichten eingängigen Refrains lauthals mitzusingen. Hinter dem US-Folk-Musiker ein riesiges Banner mit den Worten 'ROOTS ROCK REBEL', dem Namen seines neuen Albums, das von Ted Hutt (Dropkick Murphys, Gaslight Anthem) produziert wurde, und am 15. September über Dummy Luck erscheinen wird.

The heralded Minneapolis-based band Barbaro forges an exhilarating
new musical path on 'About the Winter', their inaugural outing for
StorySound Records
Featuring guitarist Kyle Shelstad, bassist Jason Wells, and violinist Rachel
Calvert, the dynamic young group developed a strong following for their
modernist bluegrass sound on their 2020 debut, 'Dressed in Roses'. Their new
album, however, represents a "coming of age" for Barbaro, according to Shelstad,
as it more authentically reflects the band's adventurous musical evolution over
the past few years. All three band members point to the title tune, "Let's Talk
About the Winter" as the song that established the tone for the album. The song,
Wells explains, "fully captured the soundscape that now defines us as a band."
The ten tracks on 'About the Winter' provide a wonderful showcase for the unique
dynamic created from Shelstad's string band roots blending with Calvert's and
Wells' backgrounds in classical music. The album also finds Barbaro expanding
its sound by having Shelstad share vocal duties with Calvert for the first time,
along with weaving electric instrumentation into the group's acoustic- based
music. The bandmates all agree on the key contributions of producer Brian
Joseph (Bon Iver, Sufjan Stevens). "His production," Calvert revealed, "elevated
these tracks to an entirely different level." Together they have fashioned a
captivating pastoral Americana sound on 'About the Winter' that is both
traditional and progressive.
The new album adds to what has been already exciting time for Barbaro, who
were selected by the U.S. government to perform concerts and conduct music
workshops in Qatar, Turkey, and Bulgaria as part of its 2023 American Music
Abroad program.

German jazz singer with Belgian roots Sophie Tassignon has built up a solid reputation in Germany. She has a whole series of well-received records to her credit, which not only showcase her musical versatility but also demonstrate what an incredible vocalist and composer she is. Sophie is a musical chameleon, constantly seeking to challenge and renew herself.


When the refugee crisis erupted and millions of Syrian refugees flocked to continental Europe in search of a better life and safety, it resulted in a lot of fear and opposition from the European population. The perception on refugees is often very negative and creates divisions on the political field.


When a shelter was started up two blocks from Sophie's home in Berlin, she decided to help and take care of some refugees. To get a better understanding on the culture and stories of those people and to bridge with our culture, she decided to study Arabic. Meanwhile, we are more than five years on, and not only is she proficient in Arabic, but she has also gained a better understanding of the culture and customs of the Arab community. Friendships for life were formed.
She decided to incorporate Arabic into her own musical language - jazz - fusing two worlds. From this was born the project and the eponymous record "Khyal. The word refers to the imagination and is literally translated as "remembering and/or longing for something from the (distant) past." With this project, Sophie especially wants to encourage tolerance and acceptance towards people regardless of their cultural background or religion and show how intercultural interaction can lead to very beautiful and artistic results.artwork &

One of the most fondly remembered duos in the history of American roots music (and the most widely recognized duo in the annuals of the blues, Sonny Terry and Brownie McGhee worked for decades in the genre of acoustic folk-blues.

Originally released in 1958 on the Folkways label, 'Sings' is one of their finest albums as a duo. "One of the duo's best acoustic folk-blues collaborations" - **** 1/2 AllMusic