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The fifth album from Oklahoma-bred singer/songwriter Parker Millsap, Be Here Instead emerged from a wild alchemy of instinct, ingenuity, and joyfully determined rule-breaking. In a departure from the guitar-and-notebook-based approach to songwriting that shaped his earlier work, the Nashville-based artist followed his curiosity to countless other modes of expression, experimenting with everything from piano to effects pedals to old-school drum machines (a fascination partly inspired by the early-’70s innovations of Sly Stone and J.J. Cale). As those explorations deepened and broadened his musical vision, Millsap soon arrived at a body of work touched with both unbridled imagination and lucid insight into the search for presence in a chaotic world. Produced by John Agnello (Kurt Vile, Sonic Youth, Waxahatchee) and mainly recorded live with Millsap’s full band, Be Here Instead marks a stylistic shift from the gritty and high-energy folk of his previous output, including 2018’s acclaimed Other Arrangements and 2016’s The Very Last Day (an Americana Music Association Awards nominee for Album of the Year). With its adventurous yet immaculately detailed sonic palette, the album warps genres to glorious effect, at one point offering up what Millsap aptly refers to as a “disco-Americana showtune.” In another creative breakthrough, Be Here Instead forgoes the character-driven storytelling of his past in favor of a more introspective and endlessly revelatory form of lyricism, an element he traces back to the charmed nature of his songwriting process. “Because the lyrics were appearing seemingly out of nowhere and with no prior intent, some of them started to feel like transmissions from my subconscious, rather than the preconceived linear stories or waking thoughts of my earlier songs,” says Millsap. “They feel like words I needed to hear from myself, and not just things I wanted to say to someone else.”

The popular mixture of extreme metal mixed with timeless melodies, driving riffs and epic parts as well as the aggressive screams and the choral vocals was retained and expanded with a lot of flair by several nuances. WOLFCHANT was founded in 2003 in Sankt Oswald, Lower Bavaria by Lokhi, Skaahl, Gaahnt and Norgahd. After the two demo self-productions "The Fangs Of The Southern Death" and "The Herjan Trilogy" WOLFCHANT signed their first record deal in 2005. With the albums "Bloody Tales Of Disgraced Lands" (2005) and the groundbreaking "A Pagan Storm" (2007) WOLFCHANT was able to gain a large fan base. This was shortly thereafter expanded internationally with the albums "Determined Damnation" (2009) and "Call Of The Black Winds" (2011) and the band played more tours, concerts and festivals in other European countries. The typical melodic pagan metal of Wolfchant was strengthened from this point on by the clear vocals of Michael Seifert (Rebellion) and the epic factor of the songs was expanded. After the release of "Embraced By Fire" (2013) and "Bloodwinter" (2017) WOLFCHANT managed to take another big step forward and further develop their fanbase worldwide. In addition to festivals such as Wacken, Summer Breeze, the 70000 Tons Of Metal (USA), WOLFCHANT played numerous national and international festivals, concerts and tours and earned a place at the forefront of German Epic Pagan Metal. In 2020 the band signed a new contract with REAPER ENTERTAINMENT and for 2021 the new disc "OMEGA : BESTIA" is now in the starting blocks waiting to be released. Blurb IG#1: With their first single "Komet" epic metal heroes WOLFCHANT strike back with everything they have! Blasting straight into the listeners ears "Komet" might become a new WOLFCHANT classic. Blurb IG#2: Der Geist und die Dunkelheit: A powerful hymn with a groovy and driving riff, combined with superb guitar playing and a epic chorus and lyrics in german!

Limited editon LP format with extra heavy textured jackets and metallic silver ink. LP includes 12" square insert with lyrics and images of the artist, and download. The raw inspiration for Vague Tidings came from a 2006 DIY tour of the 49th state. It was a trip that went off the beaten path-sometimes a bit too far for comfort. Now, over a decade later, listeners find Joe O'Connell aka Elephant Micah stationed at a creaky spinet piano, singing about the Alaskan sky. Throughout, his lyrics take a new angle on a pet theme: human encounters with the natural world. Vague Tidings places these encounters in the American West and, at times, in its sci-fi corollary, outer space. Its imagery draws from the allure of Alaska, the idea of Western prosperity, and the human relationship to wilderness more broadly. Often, O'Connell sings about the goal of capturing and commodifying nature. In poetic sketches of resource extraction industries and dark sky tourism, frontier lust runs amok. Pipelines catch fire and stars disappear, all to the tune of a stark, uncanny Americana. Vague Tidings is a sustained, hallucinatory rendering of this theme. In style, its eight songs follow a switchback path between foggy incantations and mountain anthems. Made with a small cohort of acoustic instrumentalists, the record is rough hewn, but easy on the ears. To put Vague Tidings down on tape, O'Connell assembled some of his favorite musicians in Raleigh-Durham, North Carolina area, where he's lived since 2015: Libby Rodenbough (Mipso) bows and plucks a detuned fiddle, Matt Douglas (Mountain Goats) breathes life into various woodwinds, and Matt O'Connell (Lean Year) sets the pace on a two-piece drum set. Their loose, imaginative playing pushes Vague Tidings beyond the singer-songwriter genre into something richer in texture. Ultimately, this is foreboding but spacious music, with plenty of room for reconsidering life on earth. R.I.Y.L. Jason Molina, Bonnie Prince Billy, Bill Callahan, Damien Jurado.

An array of lauded artists has collaborated across Coin Banks new Outside Looking In EP, from the WAAPA Gospel Choir on ‘Forgive Us’ and Brisbane based Ezra James providing vocals for ‘Pull Up’ and ‘Problems’ rounding out the songs with a smooth, R&B sound, to three-time World DMC Champion 20Syl who produced the latter. Atom lends his touch to ‘BreakBanks’, throwing it back to the late 80’s/early 90’s break-dance and Hip Hop scene, while James Chatburn’s silky, soulful chorus amplifies the tenderness on ‘Stay In Bed’, which along with the ‘Handlebars’ was produced by Cam O’bi who has collaborated with Chance The Rapper and Kendrick Lamar.
The vinyl version of the EP includes 2 bonus tracks ‘Be Real’ and ‘H.E.R.’ both featuring Atom and Danny Martin which were produced by Nottz and 20Syl respectively.
COIN BANKS
Perth rapper Coin Banks has quickly established his position as one of Australia’s most exciting voices in Hip Hop, since the release of his singles ‘Think of You’ and ‘Hatches’ in 2014, fusing classic and contemporary styling in his inventive storytelling.

His unparalleled run has charted local and international tours including supporting the likes of Cypress Hill, Macklemore & Ryan Lewis, Action Bronson and Illy, saw him round out 2015 as the Most Played Artist on triple j Unearthed and nominated as their Artist of the Year, plus a string of accolades including WAM Urban Artist of the Year in 2015 and WAM Song of the Year in 2015 and 2016.

On July 4th Kase Avila is set to raise the bar even higher with his latest effort ‘Minerva’ via Low Key Source. The Filipino-Australian producer is set to delve deeper into his artistry and penchant for the experimental with 14 new tracks.

When Covid-19 turned the world upside down, Kase sent himself into self-isolation. Confined to the studio, the Sydney beatmaker faced this tumultuous time with his love for producing music. Kase explored his love of 90’s boom bap, neo-soul, and the Soulquarians, while playing with the crisp sounds of electronic music to strengthen his perseverance and resolve. Taking its name from the Roman goddess of music, poetry, medicine and wisdom, ‘Minerva’ is a celebration of the resilience found in creativity when faced with uncertainty. The record envisions a sonic landscape that is as intimate as it is expansive. Lush chords pervade Kase’s signature hard hitting drum lines and smooth melodies like an evergreen being traced with graceful footsteps. The result is a sound that is regal in its confidence and joyous in it’s expressiveness. The lead single ‘Magic Birds’ strikes a harmonious balance between the sample-driven beats that have made Kase a fan favourite amongst the lo-fi hip-hop community, and ethereal synth flourishes that give the track a seamless fluidity.

Kase has long been a cornerstone of the Sydney music scene; his brand of ebullient and soulful beats have been filling dancefloors and bedrooms of hip-hop heads for the better part of a decade. In 2019 he released his first ever LP ‘Soul Calibre’, a project that also marked his debut on renowned label Low Key Source. ‘Minerva’ signifies Kase’s continuing ambition to preserve the purism of hip-hop while simultaneously pushing its boundaries with one kick, snare, and key at a time.

Recorded at Randy’s Studio 17 and Lee Perry’s Black Ark, Max Romeo’s Revelation Time is rightfully regarded as one of thecornerstones of Jamaican music. Released in JA in 1975 on Black World, the album was picked by United Artist for US release and later by listed in TheRough Guide to Reggae as one of the essential reggae albums to own. Includes the classic Lee Perry production ‘Three Blind Mice” and one of the all-time high-grade ganja anthems “A Quarter Pound OfI’Cense”

Fingerpoppin’ Records The Dave Brubeck Quartet With Paul Desmond / Live In Indiana 1958 Limited Edition Audiophile Pressing
180gr. Premium Vinyl
Following the year-long world tour set up by the State Department, The Dave Brubeck Quartet returned to the United States in 1958 full of new ideas. The group had played in England, Germany, Scotland, Denmark, Belgium, Holland, Turkey, Pakistan, India, Afghanistan, Iran and Iraq, and the music they heard in those places would inspire Brubeck to compose the pieces that would be featured on the album Jazz Impressions of Eurasia.
A few days before taping that studio album, the group performed most of its tunes in Indiana, during the French Lick Jazz Festival, a set heard here in its entirety. A wonderful performance by the same group at the 1960 Newport Jazz Festival and a rare live reading of the classic “Take Five” have been added as a bonus.
PAUL DESMOND, alto sax; DAVE BRUBECK, piano; EUGENE WRIGHT, bass; JOE MORELLO, drums. Recorded live at the French Lick Jazz Festival, Indiana, August 17, 1958.

L’ESSENTIEL FRENCH CONNECTION Edith Piaf / L’essentiel Edith Piaf 180-gram Virgin Vinyl - Gatefold Edition France’s national chanteuse, singer, songwriter and actress dith Piaf (1915-1963) also became one of the country’s greatest international stars.
Her music was often autobiographical with her songs reflecting her life. Piaf’s specialties were the chanson and torch ballads, particularly of love, loss and sorrow.
This 18-track selection spans her career from the years 1946 to 1961. It includes all of her big hits, such as “La Vie en rose”, “Non, je ne regrette rien”, “Hymne l’amour”, “Milord”, “La Foule”, “L’Accord oniste”, and “Padam Padam”, among many others.
Selection recorded in Paris & New York, between 1946 and 1961
“I want to make people cry even when they don’t understand my words. I’ve always wanted to sing, just as I’ve always known that one day I would have my own niche in the annals of song. It was a feeling I had. Singing is a way of escaping. It’s another world. When I sing I’m no longer on earth.” - Edith Piaf

With his new solo album Djourou, Malian composer Ballake Sissoko
connects with artists from distant horizons.
“Djourou is the cord that connects me to other people,” says Ballake Sissoko with characteristic simplicity. It is a magnificent distillation of that same art: the art of being yourself and being with others. It combines pieces in which Ballake converses, all alone, with his kora, and others in which he takes palpable pleasure in dialoguing with musicians whose contributions come across like declarations of love.
Ballake links with the singer Camille, the band Feu!Chatterton, famous French MC Oxmo Puccino, the clarinetist Patrick Messina, the singer Piers Faccini, Salif Ke ta’s sacred voice, the gifted kora-player Sona Jobarteh, alongside cellist and longtime musical partner, Vincent Segal.
Ballake is an improviser and prodigy who is still reinventing himself and who takes his art to explore other worlds. Djourou presents the Malian kora player’s music in all its multi-faceted forms: intimate and universal, singular and plural, solo or in conversation.
Ballake Sissoko on the Cover of Songlines in February 2021

This fine collection catches the future "Father of Soul" heading into his early R&B period. 18 examples of pioneering "Soul" experiments as part of an historical musical transformation based on hits such as "Baby Let Me Hold Your Hand" and "Kissa Me Baby".

Itaipu, written by American composer Philip Glass, were commissioned by the Atlanta Symphony Orchestra and Chorus. Along with The Light (1987), they marked Glass’s continuation of a symphonic trilogy of “portraits of nature” as he had recently turned to making orchestral music. The composition pays a beautiful homage to the Itaipu Dam, which is the world’s largest hydroelectric dam built on the Paraná River between Paraguay and Brazil. The text was written in Guaraní, and translated by Daniela Thomas. The piece was first performed in 1989. This LP also includes The Canyon on the D-side, which was first performed in 1988 and commissioned by the Rotterdam Philharmonic Orchestra.

Itaipu and The Canyon are available on vinyl for the first time. It comes a in deluxe heavyweight sleeve with gloss laminate, and includes an insert with linernotes as well as the Philip Glass catalogue with info on the MOV Philip Glass series.

The Physics House Band present METROPOLIS. A 50-minute mind warping performance recorded live at Metropolis Studios, to a small invited audience. The set brings together pieces from across our diverse back catalogue, weaved together with furious energy. On this record we explore light and dark themes in jazz fusion, prog, noise and electronic music.

We teamed up with world leading product developers, BOSS and Roland to present the sessions, incorporating a diverse range of instruments from synthesizers to a wide range of effect pedals, alongside acoustic instruments such as vintage drums, grand piano and saxophone.

It was inredible to use the Studio 1 live space at London's Metropolis Studios (while Future was recording his new album next door in Studio 2). We were able to experiment with some of the amazing equipment on offer at the studio, and bring along our producer Mark Roberts to direct the session. Also, Arctangent Festival brought along some competition winners to watch the session being filmed and recorded from the control room and atrium over looking the studio space

The Reverend Peyton's Big Damn Band are the greatest front-porch blues band in the world. They are led by Reverend Peyton, who most consider to be the premier finger picker playing today. He has earned a reputation as both a singularly compelling performer and a persuasive evangelist for the rootsy, country blues styles that captured his imagination early in life and inspired him and his band to make pilgrimages to Clarksdale, Mississippi to study under such blues masters as T-Model Ford, Robert Belfour and David “Honeyboy” Edwards. The band has built through their legendary live shows. Playing as many as 300 shows each year, the band has one of the most dedicated followings out there. This following is sure to eat up the band's latest offering, Dance Songs For Hard Times, a country blues record that was made the right way — two feet on the ground and both hands getting dirty.

Produced by Ivo Watts-Russell, who was chosen by Peter due to his This Mortal Coil production, this album was released in 1986. A review of the album around it's original release by Melody Maker declared "the man with everything to prove has just proved everything".

‘Cuba: Music and Revolution’ is a new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that explores the many new styles that emerged in Cuba in the 1970s as Jazz, Funk, Brazilian Tropicalia and even Disco mixed together with Latin and Salsa on the island as Cuban artists experimented with new musical forms created in the unique socialist state of Cuba.
The album comes as a deluxe double CD and heavyweight triple vinyl, complete with extensive sleeve notes, jam-packed with heavy basslines, synth and WahWah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known throughout the world.
The album is released to coincide with the massive new deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, which is also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) and which features the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.
The music on this album features legendary Cuban groups such as Irakere, Los Van Van and Pablo Milanés, as well as a host of lesser known artists such as the radical Grupo De Experimentación, Juan Pablo Torres and Algo Nuevo, Grupo Monumental and Orquesta Ritmo Oriental, groups whose names remain largely unknown outside of Cuba owing to the now 60-year old US trade embargo which remains in place today and which prevents trade with Cuba - and thus most Cuban records were only ever available in Cuba or in ex-Soviet Union states.
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s - who were all searching for a new Cuban identity and new musical forms that reflected both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades - Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records.
Press - Reviews & features in Mojo, The Wire, The Guardian, The Times, The Telegraph, Pitchfork, Irish Times, The Observer, Clash, Vice, Metro, Record Collector, Uncut, Independent, Q.

Hell Yeah welcomes the Italian musical collective Aura Safari for a debut EP on the label.

The band, who are at the forefront of a new Italian fusion sound that blends jazz-funk, electronic and world sounds, is made up of acclaimed house devotee Nicholas Iammatteo, plus Alessandro Deledda, Lorenzo Lavoratori, Daniele Melloni and Andrea Moretti. They contributed a standout track to the Buena Onda - Balearic Beats compilation last year as well as releasing a full length LP on UK label Church to critical acclaim.

Opener 'Dreams of Music' is a lush, new age groove with rich musicality, wind instruments and live drums all glowing warmly as you roll into sundown. 'Oasis' then sinks into a reflective mood, with lazy drums and sensuous late night chords sounding like Roy Ayers all loved up and super stoned. The noodling keys really melt your heart before the excellent 'Slow Divers' pairs more majestic bass riffs with wet claps and splashing cymbals as a wandering lead drifts up to the heavens. It has a dubby swagger to it that is superbly subtle.

Closing out the EP 'Libra', is a heartwarming, slow motion, jazz-funk fusion packed with detail and life affirming synth playing.

These are gloriously heartfelt tracks that showcase this collective's supreme musical ability as well as their unquestionable understanding of jazz, funk and soul, past, present and future.

Following their debut compilation last year, Accidental Meetings are back with their first album by Vancouver-based artist, wzrdryAV aka Kelly Nairn.

The tape is a tale of two sides, one beats, one beatless. Using field recordings, audio collage, sound object manipulation, synths & samples, Nairn explores his extensive repertoire.

"`To take two of my worlds and put them in one place as an experiment in contrast"
Side A explores the groovier, rhythmic side of Nairn. While deliberate melodies are uncommon, repeating fragments of chords and foggy loops combine in a pulsating way. Touching on Detroit techno & Jamaican dub throughout, Nairn creates trance-inducing mini jams from start to finish. Side B leans more on Nairn's granular synthesis side. With fragments of field recordings scattered over drones & layered tones that manifest themselves in the most unexpected ways.

“I'm putting together and playing back sounds for the audience that I find evocative for my own escapism”

The first release from Certain Sound is a collaborative effort, the result being two stellar tracks from the dynamic duo; Producer, DJ and label owner Barry Manalog, with MC and all-round wordsmith Ash The Author.

Side A, Cloud Riders, is a light and poetic number. The production oozes those jazz stylings reminiscent of that classic Hip Hop vibe, something to nod your head to on a late night. Ash's lyrical content is hopeful, and dream filled, rising above the clouds like Superman with his Lois Lane. Smooth as butter, the production and vocals go together effortlessly.

Side B, Extraterrestrial, completely flips the script! Whilst side A had us riding through the clouds, Side B completely blasts off and takes us out of this world! The production is gargantuan, heavy drums, haunting samples, it hits you like a slap in the face! Ash comes in on exactly the same tip, a relentless barrage of wordplay and punchlines. Venomous, but still with that slice of wit we've come to love him for, Ash's hunger really comes through on this track! To top it off, we have some seriously ferocious cuts from veteran turntablist DJ Chud, from the legendary Steel Devils crew.



DJ/Radio Support
All City Show/ with interview, Blatantly Blunt, Disorda, Fatp, Realness Radio, 1XTRA, Hatter Saturday Sauce, Boot Records show, Chud on KANE FM, Cypher Lounge Show, BBC Intoducing,Trackside Burners, DJ Madhandz Itch FM, Captain Co, Brick Celly, Hellfire Corner, Deejay Random, Jazz T, DJ Format, Soup (J5), DJ Madhandz.

* UK dub classic dating from 1993 from The Disciples that originally came out on the Boom Shacka Lacka label causing a massive stir at the time of release, not just within the sound system dub scene but cross-genre, in what was later to become known to as “bass music”.
* A prime example of instrumental UK dub, featuring the original three mixes plus two extra previously unreleased raw mixes.
* The Disciples, along with the likes of Sound Iration, Manasseh, Alpha and Omega and Conscious Sounds are the forerunners of what became known as the UK roots/dub scene.
* Highly regarded for their custom built dubplate cuts for Jah Shaka, The Disciples have a sizable following worldwide, particularly in the UK, France, Germany and Japan.

As long-time fans of this sublime four-track compacto 7" by the illustrious Brazilian duo Luli Lucinha e O Bando, we have floated the idea of re-issuing this beauty for several years now. So finally, the time feels right to release this beloved gem back into the world.

Originally issued on Som Livre ‎Records in Brazil in 1972, this rarity has long been lost to only but the most hardened Brazilian record collectors and those lucky few who own an original copy. The four genre-defying compositions blend elements of psychedelic rock, MPB and folk, and are glued together by the synergy of Luli and Lucinha's vocals and the outstanding arrangements by Zé Rodrix. Whether it be the lost Brazilian-psych anthem of 'Flor Lilás’, or the tripped out folk-funk of 'Dourado Da Manhã’, the EP oozes magic and brilliance. The record also features the Brazilian percussionist, Alyrio Lima, who later became a member of the iconic Weather Report.

Luli (Heloisa Orosco Borges da Fonseca) and Lucinha's (Lucia Helena Carvalho e Silva) records have become extremely sought-after in recent years. Their inclusion on John Gómez's superb 2017 'Outro Tempo' compilation helped spread the gospel about their beautiful folky, MPB, private press albums from the late '70s and '80s. Prior to their musical partnership back in 1965, Luli released a heavenly Bossa Nova 7" nugget entailed 'Baleiro' and a self-titled solo album on Philips Records, which are now also highly-prized by collectors.

Here at Mr Bongo we feel Luli and Lucinha's names should be more widely recognised and break out of their cult artist status. They should be rated up there amongst some of the progressive, left-field greats of Brazilian music of their era. Sadly Luli passed away in 2018, but left behind an inspiring musical legacy for us all to savour.

The first single from the Mathlovsky album Yassssin, “​ The Heat”​ i​ s EXACTLY what is said on the label: PURE FIRE! Featuring the talents of album collaborator and live drummer Gregory Simons, and vocalist duo Jason and Rhonda, this single is the maximum hype pressure coming off the LP. Label boss and global octopus extraordinaire Submerged does the B Side honors with a tasty drum n bass tempo acceleration version. It’s important to rewind and understand how we got here in the first place…

Belgian electronic music giant Mathlovsky has continued his constant evolution, with new live performance with a live drummer. Celebrating and promoting this new partnership, the album Yassssin​ (​4 S’s if you want to make it easy on yourself)​ ​is being released on double vinyl by Ohm Resistance this Spring. With 3 video singles, we decided to make a special one-off, limited Fire Red 7” to go along with the first single.

Since 2019, Mathlovsky has invited drummer Gregory Simons to perform at his live shows, to add another layer of punk & funk fueled acoustic drums.
Not replacing the electronic heavy hitting beats but by looking at his drumset as another instrument, Mathlovsky’s music has entered another realm.

As such, a new era has begun. Yassssin, the first album with Simons’ acoustic drums as an added weapon of dancefloor destruction, is the perfect representation of what Mathlovsky live is all about. After ten years of dwelling in the rave scene and band scene alike, Mathlovsky has fused all his influences and tastes into one cohesive album. Inviting his talented Belgian music friends to contribute a voice, an instrument and overall energy, this album is a ride to never forget.

For both ravers and moshers, Mathlovsky has crossed boundaries between worlds and begins this decade with a massive bang.

“Maestro melodist Christophe Petchanatz (aka Klimperei) and all around music fanatic David Fenech engage remotely in a repetitive exchange of recordings and overdubs on their debut album titled ‘Rainbow de Nuit’, sporadically spanning over the last decade. Evocations of experimental and improvised jazz, chansonesque songs, bluesy folk, and outsider music undulate harmoniously across the record. From music boxes and walkie-talkies down to plastic straws, plucking various stringed instruments such as the charrango and banjo, kazoos and snake-charmer ocarina and flutes, all the way through the sweet accordion and melodica, found and traditional tuned percussion - there is far from a shortage of sound sources on this freakishly inviting record. What germinates as an imaginative and emotional chord progression played by Klimperei, evolves with Fenech layering additional recordings, which would then find their way back home to Klimperei yet again, and so on, and so forth. This recursive compositional and improvisational loop, combined with Fenech’s musique-concrete-like mixing and editing techniques, transforms the acoustic recordings by way of compression, saturation, and reverberation or simple pitch changes - resulting in the duo’s recordings seemingly sound like they may very well be an octet in real time. While the majority of the recordings have been ping-ponged remotely, David and Christophe unite under one roof to record the closing track of the album.

The pieces presented on ‘Rainbow de Nuit’ treat the ears to a carousel ride waltzing through a multiverse made up of surrealist puppet theaters, dramatic film noir act changes, and a mosaic of polyphonic instruments and toys alike. In other words, a score to a fable brought to life with haunting yet charming melodies and occasional hallucinatory voices reminiscent of laughter and infantile epiphanies which we hear on Tarzan en Tasmanie and Madrigal for Lola. This is taken a step further by Fenech, to a brief libretto of incomprehensible tongues on Pocarina. Amid the mysterious and dark (Septième Ciel and Rugit Le Coeur) also lies tender and simple compositions (Rainbow de Nuit and Chevalier Gambette), murky suspenseful melancholy (Levy Attend and Eno Ennio), and casually slipping into pensive psychedelic backdrops (Un Cercueil à Deux Places) - forming a colorful blend of sounds. A world of echoes. A tale of tales. One persistent earworm that you’ll likely be whistling and humming along to on a first listen.”

Composed by Auvinen

Mastered by Denis Blackham at Skye Mastering, June 2020

Cut by Andreas Kauffelt at Schnitstelle, Berlin, June 2020

Johannes Auvinen has been a one man acid king for over a decade producing a wealth of acid and acid house under the moniker Tin Man. For this new release on Editions Mego he navigates an entirely different zone. Drawing on the history of electronic musik Akkosaari is a transcendental journey far from the sensual frenzy of sweaty acid drenched dancefloors we are accustomed to with his work. Akkosaari lies in the middle of the kosmic komische of Ash Ra Temple's Jenseits, the weightless transcendentalism of Eliane Radigue's Trilogie De Morts and the more glacial output of the Sähkö catalogue. The pace is gentle as the listener is drawn further into a world unlike the one we inhabit, these machines are more second life than one's emulating real life. The fantastic potential for audio induced visions are at play in this adventure in music as mind travel. On Kyläläiset Tanssii a measured pulse acts as a means of navigation before Susi spirals out clouds of sound. By the time we get to Kelluminen we are deeply within an unfamiliar state prior to landing in the heavenly plateau of Akkosaari. Throughout Akkosaari we are bathed in enrapturing and enveloping mists of psychedelic haze which take the listener on a vivid mental journey. This is intoxicating head music unfolding like an astral ascension and like any trip warrants repeat visitation.

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

Being one of the finest exports Australia has to offer, Jules ‘Inkswel’ Habib has become very well respected the world over for his excellent musical output and undying dedication to his art.

Countless Inkswel recordings, remixes, and collaborations circulate the airwaves and internet as project after project surges through with an unstoppable force. Inkswel is a prolific artist, known for his superb album trio on BBE Records, his relentless cooperative EPs & collaborations on Rush Hour, Boogie Angst, Wolf Music & Oye, and recent output with Pugz Atoms on Jazzanova’s own Sonar Kollketiv imprint. Jules reaches even further as he launches “Inner Tribe”, his own labels boasting artists such as Ahu, Planetself with his amazing wife and vocalist Charli Umami, Kid Sublime, Stan Smith & Colonel Red to name only a few. knowing himself that working with great talent makes great music.

His latest album offering Astral Love on ARCo. is an outstanding 9 song Long-player featuring a plethora of brilliant artist backing up his bouncy-rough-cuts. Naming only a few, you will find maestros such as Dwight Trible, Stan Smith & Andrew Ashong among many others who elevate this album to great heights.

Real Real World is the first collaborative effort from Nantes-based Australian drummer/percussionist Will Guthrie and Australian keyboardist/composer James Rushford. Primarily recorded in a fluid, spontaneous studio session in Nantes, with overdubs added later in Melbourne and Nantes, Real Real World presents five spacious, unhurried pieces that inhabit a unique sound world characterised by wheezing, half-voiced organ chords, chiming metal percussion, and eruptions of small sounds. Beginning with the eerily beautiful, shakuhachi-esque sound of Rushford performing on detuned portative organ, the opening title track is abruptly transformed by the entry of Guthrie’s sizzling cymbals, deep gong strikes, and rustling hand percussion. On the epic ‘Lumbering’, which occupies the majority of the record’s first side, organ chords define a space in which a kaleidoscopic succession of amplified thuds, chiming bells, rustled and dragged objects, and abruptly silenced clusters advance and recede in an oneiric blur, eventually making way for a passage of Guthrie’s virtuosic polyrhythms, itself unexpectedly overtaken by waves of melting fairground organ. The record reaches an energetic climax mid-way through the second side with the stunning ‘Slakes’, where lugubrious chords in the organ’s lowest register are joined by Guthrie’s skittering rhythms, which somehow manage to call to mind both the most chaotic moments of Balinese Gamelan and the stochastic breakbeats of late-90s Autechre. On this piece, Guthrie and Rushford are joined by Melbourne saxophone maverick Scott McConnachie, who contributes an alto sax solo of burning precision, working with a single-minded palette of piercing long tones and wild intervallic leaps. Though it makes extensive use of overdubbing, Real Real World retains a strong sense of having been performed, rather than constructed: while at times the fleeting succession of events can recall electroacoustic music, its primarily acoustic nature and unhurried pace is also reminiscent of the music of AACM affiliates or Marion Brown’s classic Afternoon of a Georgia Faun. Immediately engaging while also hiding countless details in the folds of its polychrome fabric, Real Real World is a relaxed and joyous document of collaborative musical invention.

Artwork by Patrizia Bach. Layout by Lasse Marhaug. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

World Standard is a stylish pop unit that incorporates a wide range of music from rock, techno to ambient.Their memorable first album, which debuted in 1985 on the Teichiku Non-Standard label produced by Haruomi Hosono, will be remastered and reissued under the supervision of Soichiro Suzuki! This is the second analogue release by Warsta, whose LP "Asagao" (released in September 2020 by conatala record), a collection of world standard demos, has been well received and is now attracting attention from around the world.

The sensation was perfect – Helloween, who have sold more than 10 million records worldwide, being one of the most respected German metal bands since 1984, announced their PUMPKINS UNITED WORLD TOUR in 2016. The media was raving about the TOUR OF THE YEAR, playing 69 shows in 32 countries all over the world. More than one million fans on three continents were ecstatic because it was not only a reunion of the original band, it was the summit of seven ultimate HELLOWEEN heroes: Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner & Dani Löble. Or to put it simple: it was a dream come true for fans around the world, the band received five times more spectators and all of them had only one wish: »Please stay together!«

Following the excitement, one of the biggest magazines in this genre ‘BURRN!’ (Japan) honored the band with four unbelievable cover stories, this was followed by the thunderstorm of the century within the social media universe, a celebrated PUMPKINS UNITED single and the quenchless hunger for more – much more! And yes, the musicians tasted blood and it was clear: there is no way back – the future of HELLOWEEN will be written in unity. It marked the beginning of a new era and the re-birth of a metal legend with exceptional artists.
Their first new album will be released in summer 2021. Flatten the runway with a loud drumbeat: in April 2021 the spectacular single SKYFALL will be released. The 12 minute epic, written by Kai Hansen has the long yearned ‘Keeper-Vibe’ but it isn’t telling the story of the whole album. SKYFALL has a musical arch which will be loved by fans of every era: from unforgettable times to glorious adventures all the way to the upcoming first album of the HELLOWEEN new age. The epic track tells about an alien landing on earth and a dramatic chase while Hansen, Kiske and Deris duel with each other in a breathtaking manner and create a broadband adventure - with a lyric sheet with colored blocks identifying the singers as well as a video that is formidable. Produced by Martin Häusler, it will be the most elaborate clip in the history of the band, the story to be shown with 3-D animation and looking cinematic – in these times almost a dinosaur in implementation.
The base of the upcoming milestone album was already erected in the studio: using the original Ingo Schwichtenberg drum kit, the recording was done with the same modulators at the Hamburg HOME studios where back then ‘Master of The Rings’, ‘Time of the Oath’ and ‘Better than Raw’ was recorded. Back to the roots and completely analog is the UNITED impact - another great work by well-known producer Charlie Bauerfeind and Co-producer Dennis Ward before the album traveled to New York and got the final mastering polish in the Valhalla Studios of Ronald Prent (Iron Maiden, Depeche Mode, Rammstein).
With all this brand new material an album has been created, an album that is set apart from the digital mainstream and showing that the essence of the band was never more solid.

The artwork of Eliran Kantor (Berlin) is clear: SKYFALL is the beginning of something big – here comes HELLOWEEN.

The three players in Chicago’s Moontype orbited each other for years before they came in phase. Bodies of Water, their debut album for local label Born Yesterday, documents travel, insecurity, friendship, and the titular element—all of which are representative of the band members’ strong connection to place and to one another. “Being rooted in the landscape became important to me while studying geology, which completely changed how I think about the world,” offers songwriter, vocalist and bassist Margaret McCarthy of the album’s central themes. The arrangements themselves feel like open-hearted negotiations; sparse fingerpicking gives way to saturated tube-screaming as naturally as the changing of tides. Over twelve tracks, Moontype revels in the woozy concoction of its many influences, but always lands on punchy hooks, shifting between arrangements both spacious and mystifying without abandoning their conversational warmth.

Conservatory students at Oberlin College’s prestigious music program, each member focused on exploring different sounds. Guitarist Ben Cruz, who came up on classic rock shredding and migrated into jazz performance, admired the indie pop of Fountains of Wayne, the groundbreaking composition work of pianist Vijay Iyer, and the genre-morphing folk of heavy hitters like Neil Young and Joni Mitchell. He played in several projects alongside Emerson Hunton, who’d drummed from age six and entrenched himself in the Twin Cities improvised music scene before even heading to college. Margaret—who grew up outside of Boston playing piano, singing in choirs and writing on guitar—spent her time creating knotty, riot grrrl-and-hyperpop inspired songs for bass and voice, as well as noise soundtracks for art installations. Inspired by artists like Adrianne Lenker and Gillian Welch, she recorded the EP bass tunes at home in an apartment over the town’s optician, releasing it upon graduation. A week later she migrated even farther west to Chicago, where Ben and Emerson had already enmeshed themselves in several projects, from avant garde ensembles to a country group.

Ben was instantly impressed by Margaret’s songs, at once “challenging and unlike anything I had played before.” The duo decided to try performing together, but knew this special music would be even better fortified with drums. Emerson was the obvious choice—as Ben puts it, “He’s our great friend and also the best drummer we know. Who else do you call?” Moontype-as-trio gigged around town, eventually embarking on a first fall tour in Emerson’s Prius. On that trip, they felt the music morph into something living, and the care and trust between them intensified. They decided to put together songs for a record, recorded at the end of 2019 with Jamdek Recording Studio’s Doug Malone, a dependable collaborator whose patient process perfectly captured the magic of their newfound familiarity. While Margaret’s skeletal demos still informed the bulk of Moontype’s full-band debut (some of which are re-recordings of bass tunes cuts), the resulting arrangements are songs reborn and strengthened by the three musicians’ absorption of one another’s ideas.

On Bodies of Water, Margaret’s soothing, unadorned alto is often peppered by the gliding, eerie harmonies of her bandmates. “We love the act of singing together,” explains Ben, who describes it as “connecting and grounding and wholesome.” The push-pull search for common ground characterizes the instrumentals as well. Round basslines occupy higher octaves, trading space with guitars chugging in lower registers, and all the while drums break apart and glue back together in idiosyncratic grooves that never lose the pocket. Of the complicated rhythms that sometimes result: “Any mathy moments are based on how the lyrics fall naturally, which feels like it frees us up from having to stay in one time signature,” says Emerson. “Rhythmic elements never feel like they’re being added in, more like they’re already there and we just float on through.”

Touring’s restlessness informed these songs, but so did the DIY scene that welcomed Moontype to Chicago—including, according to Margaret, the “wild harmonies” of Ohmme, the “deadpan explanatory rock” of Ratboys, and the “luxe math rock pattern music” of The Knees. Working at beloved venue Sleeping Village inspired Margaret’s observational vignettes; “We are sitting at the desk and you are mixing all the bands,” she reports in the middle of the dextrous folk hammer-ons of “3 Weeks,” gently admitting, “I am trying to have fun and I am trying to get paid” in a world of bikes, trucks, and velvet. “About You,” a robust power-popper written about a post-gig romp around Richmond with artist Bebé Machete, opens with a Phair-ian quip: “Looking at you with my fuck me eyes / Do you wanna get inside of mine?” Meanwhile, the spectre of lost camaraderie looms over “Ferry,” an atmospheric and anthemic standout that questions, “If I’m not your best friend / then who am I to anyone?” Alongside water, this preoccupation with friendship is a focal concern lyrically, but the palpable love between Moontype’s players is essential in communicating that desire for connection, and all three members are dedicated to exploring sound and meaning organically and together. Care and generosity are at the core of Moontype, and Bodies of Water is a clever album full of insightful music, as cosily enveloping as it is incisively honest.

Debut album, duo from Detroit which includes Chris Samuels of Ritual Howls 350 Units of limited cloudy clear/Bronze splatter colored vinyl Electronic, Industrial, Experimental music for Fans of Ritual Howls, Throbbing Gristle, Coil, The Legendary Pink Dots, Drew McDowall, Suicide, Cabaret Voltaire // Mission to the Sun synthesizes ambient, post-industrial landscapes with expansive arrangements and haunting vocals. Comprised of Christopher Samuels (synths, samples, programming) of Ritual Howls and Kirill Slavin (vocals), the Detroit-based duo creates an atmosphere of lamentation for a world left behind. Fragments of industrial noise and hypnotic synths fill Samuels' foreboding, alien terrain, and it's in this vastness that Slavin's voice mourns the drudgery of everyday life and the loss of universal consciousness. The duo's debut album, Cleansed by Fire, takes the listener on a journey home to the inferno of the sun, navigating memories of a life lived, dissolved into time. A wind of desolation opens "Take Me Back," with Slavin mourning for a return home to a distant reality. The song uses repetition to build a somber ambience while maintaining a spaciousness sparsely accented by noise with care and precision. Slavin's lyrics examine the conflict and paradoxes that riddle the human condition with Samuel's instrumentation providing a fitting backdrop. "The Unbroken Sea" illustrates this symbiotic reflection with a propulsive bass line contradicted by ethereal synths that swell and contract, only to be finally engulfed by a pulsating crescendo of rhythmic noise at the end. The dystopian title track "Cleansed by Fire" marches steadily along to a creeping darkwave rhythm. The basic elements of dance music are there, yet the song remains devoid of danceability. Punctuated by lyrics inspired by J.G. Ballard and technological isolation, a glimmer of pop sensibility can be found beneath the haze of the track's potent mood. Mission to the Sun beautifully captures an alien feeling: one ripe with despair and longing, one that doesn't quite belong to this world or time. A slow, satisfying burn, Cleansed by Fire traverses the dystopian past and present, while moving toward the future.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

The Copenhagen-based, Scottish-born composer Clarissa Connelly’s music is evocative of the whimsical and almost child-like, tainted by an undercurrent of dark sensuality, disquietude and existential dread. Characterized by complex arrangements, big compounded chords, as well as a broad array of instruments, effects and sounds, her songs orient the listener towards utopian beauty that lie somewhere between the baroque and the primordial. With an experimental approach to vocal techniques, her voice can manifest benevolent fay-like creatures as easily as banshees and maleficent spirits singing melodies that retain the accessibility typically associated with pop-music. The compositions are lyrically and aesthetically grounded in Celtic folklore and Scandinavian vitalism. The threshold between the mundane and the fantastical are accentuated in her work, in such a way that the pursuit for – and the ability to recognize – real beauty in the world become anchored in the realm of work, everyday anxiety, motivation, human brilliance and failure.

With forthcoming album The Voyager, Connelly sets out to not only to study the relationship between nature and music, but also its relationship with time. She says: “I’ve always been especially excited about times in the north before Christianity came, and how the Pagan culture and Christianity became intertwined in people through rituals and formations in the landscape - burial mounds, passage graves, dolmens, etc.” She continues: “In some way, it’s very difficult to translate nature into an understandable movement of change. Looking at a mountain I often view a still picture of time – a moment right now – but sometimes, I can look at the mountain and see millions of years of change and movement. I believe that this point of view can be assisted by art and music. In a landscape ornamented with ruined Viking fortresses or ancient burial mounds, I find that I, for whatever reason, seem to be able to perceive time and comprehend history (the history of nature and culture) as a series of changes in a more salient way.”It is here that The Voyager derives so much of its power. It roots itself in history, mythology, capable of intertwining and unravelling both past and present. Songs such as Holler and The Hills Are Crying – opening and closing tracks on the album, respectively – conjure images of these ancient Danish sites, offering something more than just a fluid, long-forgotten way, and instead a tangible reverie that can educate, engage and thrill in equal measure. Connelly explains: “I have the idea, that the mystical and fantastical nature of these olden barrows and ruins can kindle a more dynamic and historically informed perspective. I think that an understanding of time as a movement is articulated when looking at the landscape in this way and can maybe bring us out of our little bell jar, and into a greater experience of life as a whole.”

The Voyager is released in conjunction with an app Vandringen (released 27 september 2020), conceived and created by Clarissa Connelly - along with the contributions of 21 other Danish musicians, painters, sculptures, performers - which highlights special ancient Danish locations, not viewable on Google Maps. These locations are presented with local knowledge and a number of them are interpreted for the modern day by the creatives involved. Connelly concludes: “I am very eager to write music that sounds like something that is happening now but has also happened a very long time ago. I have always found it fascinating to view history through changes in the landscapes around us, and therefore I started created this app and wrote this album.”

Robert Zimmerman, aka the rock-folk singer-songwriter Bob Dylan, was born in Duluth, Minnesota in 1941. His first three albums – Bob Dylan, The Freewheelin’ Bob Dylan, The Times They Are A-Changing – reoriented both folk music and rock. His early songs were largely inspired by Woody Guthrie, and in turn provided inspiration (and soon a religion) to many music fans around the globe.

There is no doubt that the baby-boomers of 1968 – a whole generation – were seeking an ideal, and the promise of change in Dylan’s first songs transformed a merely average nasal-toned folk singer into a figurehead of the protest movement, and later one of its high priests.

But there are also those who will remember how Dylan invented his own life-story as an orphan with Indian blood who spent his childhood in a circus/ Or how he happily explained to 'Time' why their magazine was pointless (and to CBS News why opinions expressed by media were useless and harmful.) Of course they were, and so Bob was there to change the world. Times, indeed, they were changing, and Bob began wearing silk shirts way before he was handed the Nobel Prize for Literature. We need more Jesus Christs and Bob Dylans as world-changers.

It’s hard to believe that it’s been over 30 years since Candy Dulfer rose to fame with her high-profile collaborations with Dave Stewart (the worldwide number 1 smash “Lily was here”) and of course the legendary Prince, whose tongue-in-cheek recommendation (“When I want sax, I call Candy”) in the “Partyman” video made the world sit up and notice the young, glamorous and talented sax player at his side. Candy has been fortunate to work - both in the studio and on stage - with some of the biggest names in music, including Van Morrison, Maceo Parker, Sheila E., Mavis Staples, Lionel Richie, Beyoncé, Pink Floyd, Chaka Khan, Aretha Franklin, and many others. Despite these high-profile collaborations, Candy mainly focused on her solo career, starting her own band at age 13 and touring the world ever since.

Songs of Comfort & Hope is inspired by the series of recorded-at-home musical offerings that Yo-Yo Ma began sharing in the first days of the COVID-19 lockdown in the United States. Throughout the spring and summer, Ma’s #SongsofComfort grew from a self-shot video of Antonín Dvořák’s “Goin’ Home” into a worldwide effort that has reached more than 20 million people.

Ma and longtime collaborator Kathryn Stott mark the next chapter in the project with this brand new album, offering consolation and connection in the face of fear and isolation. The album includes 21 new recordings, which span modern arrangements of traditional folk tunes, canonical pop songs, jazz standards, and mainstays from the western classical repertoire. Among the new takes on old favorites are Pulitzer Prize® winner Caroline Shaw’s artful and eloquently arranged “Shenandoah”; Australian composer Harry Sdraulig’s “Fantasia on Waltzing Matilda”; pianist Stephen Hough’s lush arrangement of “Scarborough Fair”, and two-time Academy® Award-nominated icon Jorge Calandrelli’s re-imagining of a pair of songbook treasures: “We’ll Meet Again” by Ross Parker and Hughie Charles, and Violeta Parra’s “Gracias a la Vida.”

Yo-Yo Ma and Kathryn Stott share the warmth of decades of music making again with Songs of Comfort & Hope, offering audiences new paths into treasured musical memories and a few notes of hope for a better future.

With 'BREAKOUT', Echoes of Zoo push their adrenaline fueled jazz sounds to thrilling new levels. Rarely did one single word capture an entire musical atmosphere this accurately: the gates of the cages fell open and won't ever be shut again. 'BREAKOUT' celebrates breaking loose and is constantly

seeking for unexpected and exciting encounters - both culturally and musically. Infused with an eclectic range of western, oriental and African influences, Echoes of Zoo let their psychedelic and energetic jazz roam the streets in all freedom - much like an animal that has just stepped out of his cage and looks you straight in the eye. Meeting is direct, barriers are gone, the adrenaline and energy are rushing high. The band takes a deep dive into the musical melting pots which the world's biggest cities are today:

Balkan ornaments meet Brazilian rhythms

Gipsy scales meet fuzz guitars

Beninese grooves meet Turkish makam

Bass guitars meet Sufi rhythms

Rage riffs meet Kurdish trance

Indian raga meets western guitars

Romanian drums meet swing riffs

Tallava meets drum 'n bass

...

Echoes of Zoo are profoundly inspired by the endless variety of animals and musical genres. Join them on their trip through the city in all diversity, victory and freedom. BREAKOUT.

Echoes of Zoo is a band with a unique sound, under the high tension of Middle Eastern rock music with the striking complexity of West African percussion and a few Dub flavors, all in the service of psychedelic jazz played with a punk attitude. For this project, Nathan Daems (sax) is accompanied by Bart Vervaeck (electric guitar), Lieven Van Pee (electric bass) & Falk Schrauwen (drums), musicians you probably know from other projects they are part of such as Black Flower, De Beren Gieren, Sylvie Kreusch or Compro Oro.

After releasing a first self-produced EP - 'First Provocations' - in January 2019, the group was well received by both the audience and professionals in the sector. Supported and followed by some pioneering organisations and festivals, Echoes of Zoo has already been invited to Brussels Jazz Festival, BRDCST Festival (AB), Brosella Festival (carte blanche guesting Pantelis Stoikos), Leuven Jazz Festival, Amok Festival (KAAP), Recyclart, ...

Die GRAMMY-nominierte Band CHA WA veröffentlicht mit ,My People" eine neue Song-Kollektion, die aus der reichen und lebendigen Straßenkultur von New Orleans schöpft. ,My People" vereint zeitgenössische Klänge mit der Musik von Straßenparaden und der Mardi Gras Indianer-Gemeinschaft - einer Gruppe schwarzer New Orleaner, die mit ihrer Kleidung, ihrer Musik und ihrem Dialekt den indianischen Stämmen Respekt zollen. Vollgepackt mit einer lebendigen Ansammlung von New Orleans-Klängen und -Geschichten, schöpft diese Sammlung neuer Originalsongs aus den Grooves von New Orleans-Funkbands der 70er Jahre wie The Meters (besonders bei Stücken wie ,Wildman" und ,Bow Down") und nimmt deutliche Einflüsse aus der Geschichte der Stadt mit Brass-Band-Musik, Jazz, R&B, Hip-Hop, Rock, Soul und afrikanisch inspirierten Arrangements (einschließlich einer relaxten Coverversion von Bob Dylans ,Masters Of War" in diesem Stil). Cha Wa wurde von Bandleader Joe Gelini kurz vor der Veröffentlichung des 2018 erschienenen Debütalbums ,Spyboy" gegründet, das 2020 bei den GRAMMYs mit einer Nominierung für das beste regionale Roots-Album ausgezeichnet wurde. ENG The next generation of New Orleans music shares a bold vision for the future with a reverence for the past. It builds upon tradition to bring something unique to the world. The future of New Orleans music is Cha Wa, a Mardi Gras Indian funk band that takes the music of the streets into the 21st century, with guests like Alvin Youngblood Hart and Anjelika Jelly Joseph. On "My People", the band tries to "take the influence of Monk and Bo and Willie Tee [from the original Wild Magnolias] back in the day, when they were interpreting the music of their time - the deep funk, disco, Afrobeat and tinges of reggae," says drummer & bandleader Joe Gelini. "And we're also trying to interpret and write new music that we're inspired to play that's relevant to our generation, and our current social environment." "My People" feels like pure joy, a distillation of generations of New Orleans expression, but it also never fails to remind us how hard-won that joy was and still is: not least in the tense, funky and explosive title track, with its declaration "My people, we're still here." "Mardi Gras Indian songs are inherently songs about freedom," Gelini says. "And that struggle is as relevant today as it's ever been."

Released in 2007, Long Road Out of Eden is Eagles’ seventh and most recent studio album. Previously released on a limited vinyl run, the album is currently certified x2 platinum in the UK and x7 platinum in the US.

The album includes “No More Cloudy Days,” which is still performed as part of their current set, and includes singles “How Long” and “Busy Being Fabulous”.


[a] A1. NO MORE WALKS IN THE WOOD [2:00]
[b] A2. HOW LONG [3:15]
[c] A3. BUSY BEING FABULOUS [4:21]
[d] A4. WHAT DO I DO WITH MY HEART [3:54]
[e] A5. GUILTY OF THE CRIME [3:44]
[f] A6. I DON’T WANT TO HEAR ANYMORE [4:21]
[g] B1. WAITING IN THE WEEDS [7:46]
[h] B2. NO MORE CLOUDY DAYS [4:04]
[i] B3. FAST COMPANY [4:01]
[j] B4. DO SOMETHING [5:13]
[k] B5. YOU ARE NOT ALONE [2:22]
[l] C1. LONG ROAD OUT OF EDEN [10:17]
[m] C2. I DREAMED THERE WAS NO WAR [1:38]
[n] C3. SOMEBODY [4:10]
[o] C4. FRAIL GRASP ON THE BIG PICTURE [5:47]
[p] D1. LAST GOOD TIME IN TOWN [7:07]
[q] D2. I LOVE TO WATCH A WOMAN DANCE [3:16]
[r] D3. BUSINESS AS USUAL [5:32]
[s] D4. CENTER OF THE UNIVERSE [3:42]
[t] D5. IT'S YOUR WORLD NOW [4:20]

What Did You Expect from The Vaccines? is the debut studio album by English indie rock band The Vaccines. It was released on 11 March

2011, entering the UK Albums Chart at #4 and going on to become the biggest-selling debut by a band in 2011.

The Vaccines were formed in West London in 2010 by Justin Hayward- Young (lead vocals, guitar), Freddie Cowan (lead guitar, vocals), Árni Árnason (bass, vocals) and Pete Robertson (drums, vocals). The band have released four studio albums and have sold more than two million records worldwide. They have performed at the world’s biggest festivals and toured with acts such as The Rolling Stones, Arcade Fire, Arctic Monkeys, The Stone Roses, Red Hot Chili Peppers, Imagine Dragons and Muse.

This limited 10th anniversary edition is pressed on solid pink vinyl. The LP package contains an exclusive, brand new insert + a free download coupon for the original album + unreleased What Did You Expect From The Vaccines? Demos album. Only 2500 copies are available.