quête:the shine

Following 2019’s release of Azymuth’s Demos (1973-75), two more home-recorded demo tracks by the Brazilian psychedelic jazz-funk masters have surfaced from a tape in drummer Ivan Conti’s private archive. These five-decade old recordings by the young band show the maturity, musicianship and distinctive style that saw Azymuth become one of the most important groups in Brazilian history.

Featuring an instrumental take on Roberto and Erasmo Carlos’ 1969 Jovem Guarda hit “As Curvas da Estrada de Santos”, and spacey psych-folk oddity “Zé e Paraná”, the new 7” release via Far Out Recordings shines yet more light on this critical period for Azymuth.

As is the case with many of Brazil’s pop icons, Roberto and Erasmo Carlos had been backed by Bertrami, Malheiros and Conti either on stage, in the studio, or with compositions (in Bertami’s case) since the late sixties. Conti notes that “As Curvas da Estrada de Santos” was a big hit in Brazil when it came out in ‘69 and had already been covered by Elis Regina a year later.

But where both Elis’ version and the original were grand pop-rock ballads, Azymuth’s take is a moody, melodic jazz excursion, featuring Bertami’s incredible Hammond organ, Fender Rhodes and grand piano juggling, Ivan Mamao Conti’s distinctively tough drums, and unusually, Alex Malheiros plays a double bass instead of an electric one.

As the title suggests, “Zé e Paraná” is guitarist João Américo (Paraná) playing alongside Bertami’s Rhodes comping, synth embellishments and dreamy wordless vocals. While credited as the composer and guitarist on “Linha do Horizonte” a track from Azymuth’s debut album which would become the theme tune for a famous novella, Paraná has to this day, remained relatively unknown.

Both tracks were recorded in Jose Roberto Bertrami’s house in Rio de Janiero at some point between 1973-75. These tracks were not recorded in a professional studio, meaning the sound quality differs from other Azymuth releases. At Far Out we take great pride and extreme care in ensuring our releases and reissues are produced to the best possible sound quality. In this case the original source material had not aged well and was considerably damaged. The sound has been restored to the best possible condition but there is still some noticeable tape hiss and slight distortion on ‘Zé e Paraná’. For this reason, we strongly advise listening to preview clips before buying this release.

Keyboards: José Roberto Bertrami

Guitar: João Américo ‘Paraná’

Produced by Azymuth and José Roberto Bertrami

Recorded at José Roberto Bertrami’s home studio in

Laranjeiras, Rio De Janeiro, Brazil 1973

Issue and project co-ordinator: Joe Davis

Additional tape restoration by Daniel Maunick at the Sugar Shack

Mastered by Frank at Carvery Cuts

Limited to only 300 copies this trio of tracks dangled in classic disco juice is one of Picnic Records finest.

"Disco Ynferno" is not quite a cover of The Tramps hit but borrows the lyrics to stay in theme with the release. A driving deep house groove, 909 drums gets things moving and when the big buzzy bass, smooth breaks and nonchalant vocals drop at the halfway point it just feels right.

Company B's Hi-NRG banger get chuggified. "Phasinated" vocals by Aussie soul diva 'Ofa Fotu shine through this deep and funky 110bpm disco groover. Tropical percussion sits underneath a bouncy electro synth bass. A bit of a Crooked Man vibe going on.


The stand out, "Dubbing Alive", a tropical dubbed out version of arguably the biggest disco track ever. It just settles in and washes you with familiar melodies pushed along by a weirdly amazing honky bass. Perfect for coming up, coming down or a Sunday session down the pub.

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his iconic debut album, is simply a superb modern-soul/boogie album. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay was also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Given his decades of work behind the scenes, it’s no surprise that it took until 1982 for Caiphus to get around to putting out the first album of his own. But all that experience shows. Listen To The Wind is a deeply impressive synthesis of early 80s US production and instrumentation together with his traditional South African musical roots.

It’s stylistically diverse but the ingredients are never diluted. There are elements of boogie, soul, funk and jazz, all shot through with pan-African flavour, and moving effortlessly from uptempo floor fillers to more meditative, slower soulful tracks. Produced by Caiphus himself, he makes full use of a stellar line up of session musicians including Nathan East, Michael Stanton, Sonny Burke and Paulinho DaCosta. And of course, there are Letta’s show-stopping vocals. To our ears, Listen To The Wind is just one big party, and lord knows we need that more than ever right now.

Opener “Angelina” is one of Caiphus’s most beloved tracks at Be With HQ. It’s a breezy, feel-good SA boogie-funk classic. Harmonic and horn heavy, it sounds as fresh today as it would’ve done in the early 80s. If this one doesn’t make you move, you may need your pulse taking. The drum breakdown alone, a little over halfway through, is sensational.

It’s followed by the gentle reggae lilt of “Play With Fire”. A real melodic slo-mo delight, carried by the tropical vibes and, above all else, by the extraordinary performance of Caiphus himself and his backing singers.

Closing out side one, the spectacular “Umoya” is driven by triumphant horns and slick bass. With its proto-Graceland vibes, we reckon Paul Simon must’ve been listening. Hard. Caiphus trades verses with the unmistakable tones of Letta, and it sounds divine. Yes, it’s as good as anything on Letta’s canonical In The Music… The Village Never Ends. A wide-eyed wonder, made for unity and togetherness, it’s all infectious, smiling faces for nearly nine minutes. But never mind nine, we could party to this for ninety minutes and “Umoya” would leave us re-energised for ninety more.

Elegantly firing up side two is perhaps the album’s best known track. “Without You” is a heavenly slice of modern soul, an end-of-nighter to end them all. Smooth strutting, disco-fied funk with that unmistakably South African sound, it’s just sublime, with those lyrics that keep coming back to smiling faces and community, “without You the sun won’t shine”. Big with the likes of Rush Hour’s Antal, this is aural perfection.

“Ziph’inkomo” is a soul-soothing, swooning epic. Gently building throughout, its final few minutes are genuinely stirring as the backing vocals and instrumentation swell. Jaw-dropping. The irresistible groove of frantic, percussive workout “Gumba Boogie” closes out what must surely be one of the greatest artistic statements of the 1980s. If his friend Quincy wasn’t feverishly taking notes for Thriller, then you could’ve fooled us.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The cover art, as breezy as the music, has been faithfully restored. All that’s missing is you.

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

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

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

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

2025 Repress

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

F.S.Blumm is a man most might not know. He ́s no pop artist, and not overtly experimental either. But somehow with In Sight he has done the impossible: put his own sound in that perfect middle point, leaving his voice behind to deep-dive into some truly memorable, fully composed pieces.
In Sight is the kind of record you can put on at first crack of dawn, to enjoy its beautiful instrumental varieties during morning routine, while equally fitting as a listening experience towards the darker time of day, in the background or as highly rewarding deep listening experience. It ́s the kind of album that would be great to encounter played in a tiny Japanese jazz bar on a vintage, top notch speaker system together with a handful of local oddities. It sounds incredibly well produced and is full of beautiful, heart-warming, melancholic moments performed on everything from guitars to percussion, vibraphone, strings, piano and who knows what else. Frank shines on this record. He has created quietly composed pieces for moments one could only wish were real.
As often with F.S.Blumm ́s music, it ́s hard to pin down where to categorize it. He might be best known as frequent collaborator of Nils Frahm. Together they made three great duo albums for Sonic Pieces previously. Although this is far from his first solo album, it is his first for the label, and after listening to it on repeat for some time, we can only say that this is Frank on his finest, creating some of the most thought provoking instrumental music you can find in these parts of the world.

Parisian label Chuwanaga curated by Clémentine & Saint-James is back in the production game with fresh music from Ishkero, maybe the hottest Jazz-Fusion band of the capital city. Going from Jazz-Funk to Afrobeat through Prog and Psychedelic influences, Brume infuses together killer grooves, irresistible melodies and excellent musicianship. The 12inch, coming with its beautiful illustration, reveals a uniformly good yet diverse musical journey. Behind Ishkero, you’ll find five young and gifted musicians with strong jazz knowledge: Tao Ehrlich (drums), Adrien « Dridri » Duterte (flute & percussion), Antoine Vidal (bass), Victor Gasq (guitar) and Arnaud Forestier (keys). With its strong evocation power fuelled by their youthful energy and creativity, Ishkero’s music is a one-of-a-kind variation on the Jazz genre. Fusion at its best potential! Expect intense rhythmic sections, virtuoso solos, lush FX sections and robust arrangements. Used to play a lot live, the musicians developed a vigorous connection that really shines on stage and during studio sessions. Collectively with Saint-James as their co-producer, they recorded Brume in summer 2019 at Studio Delta (Paris) with sound engineer David Cukier aka Greita (Disques Flegon). The first track, "Triple B", is an ode to 70’s jazz-funk carried by Jeff Mercadié’s Sax performance. "Tonik Gin"’s mighty jazz-rock groove which comes afterwards brings the genre to its emotional climax. B side starts with the main track "Brume", bringing together long-tailed reverberated guitars and Mizell-like piano chords for a very warm and hazy effect. As the last track, "Gare De l’Ouest" is a nice jazz variation on the Afrobeat genre, again with Jeff Mercadié on Saxophone.

2017 release available again soon, first time through us, last copies. After numerous productions with Xatar, Haftbefehl, Plusmacher, Schwesta Ewa and many more, it was time for the solo debut of The Breed last year. The record entitled The Beauty & The Breed brought Westcoast Vibes into the German beat scene and provided the perfect soundtrack for the summer. Now the new album Sexbox follows up on this. The Breed brings the vibe for relaxed BBQ parties and sunny rides in a convertible. The inspiration for this continues to come from G-Funk and also the classic AON sound shines through again and again, but always stays up to date. The instrumentals are even more mature than on the predecessor and Breedy spins his movie logically further without repeating himself. But instead even more R'n'B influence, even more sex. No classic sample-flip-drum-ready loops, but rather songs that are repeatedly produced out of the box, which through the prominent use of talkbox, live instruments and vocal chops become more than just pure instrumentals. The Breed mixes all these ingredients in a well-considered and dosed way for the Sexbox Cocktail.
The powerful and bass-heavy produced beats make heads nod and spread a real feelgood vibe everywhere.
Matching the artwork Sexbox is released as pink coloured vinyl including a A2 poster for your living room and a mp3 download coupon.

Horse Meat Disco unveil the latest preview of their forthcoming album ‘Love & Dancing’ with ‘Message To The People’, featuring one of the main co-artists on the LP, Amy Douglas, alongside soul trio Dames Brown. A record that started as an adaptation of the Shirley Caesar original, recorded in the studio with the Dames; Horse Meat Disco and Luke Solomon then headed to Amy’s native Brooklyn, where she wrote her verses sat at the piano for this sublime disco jam. This 12” delivery features remixes from some of the genre’s most revered artists, each turning their hand at this labour of love. Up first, unrefuted master of the edit Danny Krivit delivers a blissful, club-friendly extended version, making full use of the longer playtime with an elegant, journey-like mix. The Key-A-Pella follows, an essential DJ tool that allows Amy and Dames Brown’s vocals to really shine. The funk-fuelled Michelle Mix kicks off the B-Side, an empowering, uplifting narration provided by a sample taken from none other than former First Lady Michelle Obama, inspired by Chicago legend Kelly G.’s creative sampling on his Deeper Message Groove mix, the track that closes out the release. Kelly’s mix is a soulful, grooving affair with dreamy keys you can’t help but move to.

2020 Re-issue of Keith Kenniff's debut under his Goldmund moniker. Originally only released on CD in 2005 via John Twells' Type Recordings, this album of rare and unusual minimalist beauty is now presented as a vinyl edition for the first time.

Multi-instrumentalist Keith Kenniff is a busy man. He has appeared as Helios on a number of acclaimed releases, including Deaf Center’s ‘Neon City EP’, and released a debut album ‘Unomia’ on Merck records which has appeared on many best of 2004 lists. All this while studying at the prestigious Berklee College of Music, and playing drums, guitar or contributing production to a host of amazing musicians. Kenniff lives and breathes music, something that is very obvious when hearing tracks under any of his pseudonyms.

As Goldmund, Kenniff has disregarded the electronic elements of his music almost entirely in favour of just a piano, a microphone and occasionally a guitar. ‘Corduroy Road’ is thirteen tracks of pure recording, the sound of the piano being opened and the feet on the pedals, the sound of fingers pressing lovingly onto the keys. This is a record of rare and unusual beauty, so shocking and yet unpretentious in its simplicity. When the guitar does emerge from beside the delicately touched piano, it serves as a balancing point for the record. Weaving in and out of the melodies, it adds another layer to what is already incredibly moving music.

‘Corduroy Road’ is rooted in Kenniff’s love of folk music from the American Civil War. We can hear this directly from his rendition of Civil War era classic ‘Marching Through Georgia’, but the influence carries throughout the record. There is an unheard voice which propels each track through history, maybe the ghosts of dying soldiers whispering in a long forgotten bar. Every haunting note drifts deep into the psyche and is lost in the ether of nostalgia. In this way it is a concept recording of sorts, it certainly has a narrative and has to be listened to in sequence. The story has clear themes; loss, history, friendship, camaraderie, forgiveness and hope, all clearly marked out by musical segments. It is no surprise that Kenniff’s passion for cinema shines through so strongly.

It would be hard to draw comparisons to music so rooted in folk traditions, but the music evokes traces of Ryuichi Sakamoto, Mark Hollis, Keith Jarret or even Eno’s more piano based compositions. Yet influence seems unimportant when listening to this deeply personal work. Just let it sink in and drift into the psyche.

Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It’s a tense obscure record that teases you into it’s peculiar vortex from it’s suggestive nature of exploring the enigma beyond it’s haunted facade.

VICIOUS WATER REGIMES stutters along as an ‘ugly’ mass of grey electronica. CAST(O)RO shines from light from the depths with it’s occasional foray into glistening tones. COLONIA MARINA SERENELLA is a dank squelching backdrop for a dark age. CAST twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. LET SHARKS SLEEP is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with it's relentless repetition. WIDOW WALKS gallops and creaks along a path veiled in whispers. ENGE lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable.

SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within.

Shine Grooves is a multifaceted artist, and this second record for Kimochi Sound explores two sides of that personality. The delicate, introspective, expressive precision of After All, DPS v55, and Secret move from sublime resignation to summery exuberance to a kind of earnest meditation. On the other side, collaborations with X343 yield a more extroverted approach: spontaneous mutations turn rolling grooves into unpredictable improvisational explorations.

• Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book
and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
• AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in
history, remaining relevant today, continuing to reach new generations of younger audiences.
• Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed
sections of their grooves.
• After the success of 1979’s ‘Feel No Fret’, the band went into the studio record their next album and in 1980, ‘Shine’ was released with
the worldwide Chart and Club hit ‘Let’s Go ‘Round Again’, reaching #14 in the UK Albums Chart. However, there was a back-story
behind the album’s release, which Alan Gorrie and Hamish Stuart have annotated in the LP notes.
• To celebrate the 40th Anniversary of ‘Shine’, AWB (past and present) have reconfigured the album as they had originally intended,
bringing in the four tracks that they had to ‘leave’ behind when they changed record labels. In addition, due to separate behind the
scenes situations, two further tracks were unable to be included on the album and remained unreleased until this century.
• ‘On The Strip – The Sunset Sessions’ is what ‘Shine’ could have been; a slightly longer 2LP set, heralding in the new decade.
• The album includes the singles ‘Let’s Go ‘Round Again’ and ‘For You, For Love’, as well as ‘Whatcha’ Gonna Do For Me’, which later
become synonymous with Chaka Khan, who recorded it the following year, having sung on an early-take for AWB, when they were
recording the album. ‘Miss Sun’ makes it long-awaited inclusion on the album for which it had been recorded until fate dealt another
hand, with permission being withheld then appearing as the lead track on Boz Scaggs’ ‘Hits’ LP; reaching #14 on the Billboard Hot 100.
• 40 years on, Average White Band still ‘shine’ brightly and remain highly influential for today’s groove-merchants and EDM DJs.

‘Kind of Tango’ is a kaleidoscope of shifting emotions. Wolfgang Haffner’s conception of tango has drama and propulsion in it but also melancholy and longing, with room for frenetic outbursts too. All this is unified by his inimitable groove and feel that commentators have called “an absolute dream,” “magical” and “profoundly relaxed.” Alongside trusted co-protagonists Christopher Dell and Lars Danielsson, he has two guests with him who defy all the clichés associated with tango: guitarist Ulf Wakenius cut his teeth musically in Oscar Peterson’s band and his Swedish heritage always shines through in his playing; Vincent Peirani is one of the leading innovators on the accordion and he finds new ways to define the instrument’s role in the tango. Also, young pianist Simon Oslender makes a first appearance with the band. Jazz and tango find a natural yet constantly shifting equilibrium - to be heard particularly effectively on ‘Close Your Eyes And Listen’ by Astor Piazzolla. In addition to compositions by Haffner himself and by his band members, pieces by the celebrated Argentinian bandoneon player and composer are the focal point of the album. Piazzolla’s innovations with the tango, such as bringing jazz into it, date from around 1955. Haffner and the tango
seem perfectly matched to each other. Tango is no longer a fixed style nowadays, it is above all an attitude to playing and an attitude to life. Wolfgang Haffner’s approach to tango is both authentic and new. It is his and his alone and it is irresistible.

After the success of the 2 Late 4 Love EP, Roy Of The Ravers returns to Emotional Response with a double LP with a deeper perspective, experimenting in ambient and drone textures, lucid techno travails and acid interludes.

Recorded between 1997 and 2017, the album was pieced together over the last six months after Roy's archives were first feared lost and then found. Approached by the label to release a follow up with something more introspective and personal, it was discovered that a recent move to a new studio had led to over 20 years of music being misplaced after it was believed they were mistakenly dropped at a local charity store. However, deep in a box of what were thought to be patch cables were in fact the decades worth of hard drives and here presented, is a sample of those lost recordings.

The nature of the music is introspection, eschewing the acid beats and white noise for a personal encounter between man and machine. The orchestral opening of the title track gives way to the submarine beats, pulsing TB303 and gliding hats of Robinson College 10 to set the outlook to come. Even with the scattering A Dim And Distant Past waking lulled senses, the melodies and feel all lead to a pause and reflect rather than jump and shout.

This is continued with the haunting drives of Bounce Erec and Oriental X0X-Press; the twisted, warped jams of The Weber Traum Boat Pt.3, Ichi and Roland Corp Labs 05; and the beautiful, heartfelt odes in Sade Lost Theme, The Clock House Pt.2 and closer, Nemesis '01. The album's melodic nature hums and shines as CS (6x8) appears as much a centre piece as a alternative consideration to the acid tinged, club bangs of Roy's releases to date.
A surprise package maybe, but in the rolling, word of mouth phenomena that was Emotinium II, all this and more was sensed and so White Sunrise Music II, spreading across 12 songs of contrasting moods, is a further affirmation that there is something good and worthy of exploration.

“Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. A true collectors item.

One side contains a boogie-infused cut from The Gospel Miracles, ‘Building Up Myself’ housed on their hard-to-find 1985 LP ‘The Lord Has Been Good To Me’. The other shines a light on the funk-heavy, gospel joy of Serenity - Don’t You Worry from another rare and pricey gospel LP, Serenity - ‘Like It Is!’

Hanagasumi - hazy curtain of flowers, cherry blossoms appearing from a far like a white mist - this phenomenon can be seen during the sakura blossom in Japan. The mysterious musician Shine Grooves inspired by Japanese culture is launching a label of the same name. Shine Grooves owns the underground Quadrat label, his tracks were released on the labels such as Kimochi, Rough House Rosie, Udacha, etc. Hanagasumi's first release is a mix of abstract rhythms with an influence of ambient tracks of the 90s. Each track is filled with magical synth chords with a cozy mood. Compositions with a smooth, atmospheric rhythm prevail on the first side of the vinyl, while the tracks on the second side will make you to get lost in zero gravity.

All tracks written and produced by Andrey Kurokhtin at 2019.
Mastered by Shine Grooves.
Limited 12" hand stamped vinyl, 150 copies, vinyl only.

Creole Soul!" Two words are enough for David Walters to qualify his music. The exclamation point to support radicalism and faith in its purpose.
A lapidary definition behind the doors of which hides the maze of a culture that crosses the oceans, connects continents and islands by an invisible but powerful thread. A deeply ingrained bond that allows Africa, America, Europe, and the Caribbean to converse with each other with a language as universal as music, dance, carnivals, or ceremonies.

Spread on the globe; the different creole cultures find a point of convergence where they are all represented: New York.
In this city, where motivated by his friend photographer JR, he once gave a concert in the street, David Walters decided to set the scene for his new album.

After five years of traveling the world, meeting musicians for the TV show “The New Explorers” (Canal +), it is around this hyperactive city that he chose to shine his Créole Sun. To imbue his music with the state of mind and aesthetics that reigned in the 70s and 80s.
While in 2018, he soloes produced Nola Is Calling (an album recorded in New Orleans with the Creole community of Black Indians, selected by Gilles Peterson in the best of 2019 on BBC 6). That’s with the essential contribution of the musical mastermind Bruno “Patchworks” Hovart (Mr. President, Voilààà Sound System, Da Break ...) that David produced Soleil Kreyol.

More than a musical partner, Patchworks turned out to be the sound engineer David was looking for. The second part of an ideal pair, the one with whom, set on the same frequencies, he wrote, composed, recorded, played all the instruments. Thought all the arrangements, tweaked the details as carried by a continuous breath. Or rather a light. The “Soleil Kréyol” (Creole Sun).

Two guitar legends - Eric Clapton and B.B. King - first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 4 million copies globally and win a Grammy Award for Best Traditional Blues Album.

To celebrate the 20th anniversary of this classic album, two additional previously unreleased tracks have been added: The blues standard “Rollin’ and Tumblin’” and a cover of Willie Dixon’s “Let Me Love You Baby.” Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton. The original tapes have been remastered by Bob Ludwig for release on 26th June via Rhino Records.

The 14-track collection will be available on 180-gram black double vinyl package and was mastered (vinyl) by Chris Bellman at Bernie Grundman Mastering in Los Angeles.

The album features four B.B. King originals, plus a selection of covers from writers as diverse as Isaac Hayes & David Porter (“Hold On I’m Coming”), Johnny Mercer & Harold Arlen (“Come Rain Or Come Shine”) and William Broonzy & Charles Seger (“Key To The Highway”). John Hiatt wrote the album’s title track.

Louh returns with his second solo EP on Les Points. Expect 5 signature psychedelic acid cuts.

Moonchild they call me, because I only appear once a month during full moon. I was once saved by the damned & doomed; now I have awoken from a structural nightmare. In my new & limited existence, I felt the urge to cast a bright light on those creatures of the night as we would share a common faith (or systematic oppression). I suppose we are a fragmented community – once a month – when the moon shines the strongest – we bring death & despair to the ones that marginalized our spirits.