Russell County, Virginia-based 49 Winchester is following up their 2022 breakthrough hit, Fortune Favors The Bold with their latest album, Leavin’ This Holler. Since their last release in 2022 the band has mined success across the globe by playing multiple sold out tours in the US as well as a sold out run of arena concerts opening for Luke Combs across Europe. Crowds have celebrated and supported this band across the globe and the band’s hard workin ways continue to help build their devoted following. Leavin’ This Holler is a soulful anthem of liberation and renewal. The album narrates a journey of breaking free from the chains of the past to pursue happiness and freedom. With a resolute spirit and a clean washed heart, 49 Winchester embraces change and sets out on a quest for new heights. Fortune has favored these bold boys and fueled by determination and the promise of a bright future, ‘Leavin’ this holler’ is a powerful ode to resilience and the pursuit of personal fulfillment.
Dive into the soulful world of Little Beaver with the long-awaited reissue of his 1972 debut album, Joey. Released on Cat Records, this album showcases the unmistakable talent of a musician who not only crafted the unforgettable guitar riff in Betty Wright's "Clean Up Woman" but also delivered the #2 R&B hit "Party Down."
Joey stands out as a masterful blend of Rhythm & Blues, Soul, and a touch of Funk & Blues, enriched by lush orchestrations that elevate each track. The album features the enchanting title track "Joey," which was produced by Betty Wright, "I'm Losin' the Feelin'," later covered by Gwen McRae, and the deeply evocative "Katie Pearl," adding layers of soulful resonance that speak directly to the heart.
Before his solo breakthrough, Little Beaver was a revered figure in the Miami Soul scene, known for his work as a bassist and guitarist since his early teens and as an arranger who brought magic to the music he touched. This release not only showcases his formidable skills as a guitarist but also highlights his deep, intuitive sense of songwriting that draws listeners into the emotional landscapes of his songs.
This reissue isn't just a return to the shelves; it's a celebration of a profound musical legacy that continues to resonate. Whether you're a long-time fan or new to his music, Joey by Little Beaver is an essential addition to your collection, offering a timeless journey through the depths of soul music. Don't miss the chance to experience this seminal album, beautifully remastered to capture the original warmth and spirit of Little Beaver's early work.
Dauw welcomes Berlin based musician Midori Hirano to the label with her new album Soniscope. Award winning composer Robot Koch provided a rework of the track Patterns under his recently announced new ambient project Foam and Sand.
With releases on acclaimed labels such as Longform Editions, Sonic Pieces and Alien Transistor, Midori Hirano is no stranger within the field of electro-acoustic piano music. While she is more known for her studio-work, it is often forgotten that she also has a long tradition of writing for films and theatre productions. This forms an important part in her work and a constant inspiration for her autonomous work. Soniscope is no exception in that regard. While working on the film Mizuko (Kira Dane, Katelyn Rebelo, 2019), a still of many little Jizo statutes got her attention and came to be the first steps of her new album.
“I was fascinated by the combination of the image and sound which well emphasized the stillness with a slight of emotion.” (Midori Hirano)
With the Jizo statutes on her mind, Midori Hirano wanted to make an album and started envisioning several personal narratives. Soniscope can be considered as the soundtrack of her own personal stories related to these statues of which Mizuko Jizo was the starting point. With Soniscope, Hirano continues in the same vein as her previous albums in which piano and electronic arrangements hold a central place. However, on this record she specifically explored new possibilities in terms of techniques and instruments.
Midori Hirano is a Japanese musician, composer and producer, born in Kyoto and living in Berlin since 2008. She started learning the piano as a child, and this triggered what was to later see her study classical piano at university. Therefore her productions are based on the use of acoustic instruments such as the piano, strings or guitars, but yet experimental and an eclectic mixture of modern digital sounds with subtle electronic processing and field recordings.
Her first two albums were released on noble records, and her second, “klo:yuri”(2008), saw her further develop of her sound, garnering critical acclaim from various media including TIME magazine , BBC radio and FACT Magazine. Over the following years Midori has performed in venues and festivals as diverse as Club Transmediale, Heroines of Sound Festival, Erased Tapes Sound Gallery, L.E.V. Festival, Boiler Room Berlin, and Wonderfruit Festival.
The nine solo albums and numerous single track releases to date include the works of her other moniker MimiCof, in which she explores the realm of experimental music and detailed rhythmic patterns, combined with an idea of drawing melodic shapes and harmonies. Her recent works have been released by labels such as Sonic Pieces, Daisart, Alien Transistor, raster-media, 7k! Music and Longform Editions.
Besides producing her own works, she composes music for films, video installations and dance performances. The films that have commissioned works by Midori have been screened at Berlin International Film Festival, SXSW Film Festival, International Documentary Film Festival Amsterdam and among others.
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I’ve lost my sense, I’ve lost control, I’ve lost my mind! Yeah, we all know how the song goes, but those words will no doubt end up driving their point home throughout the duration of Bloodstains’ self-titled debut LP. This thoroughly-welcome Euro pressing follows the album’s DIY release earlier in 2024, which is excellent news for UK/mainland fans of early 80s SoCal hardcore who’ve yet to hear it - the whole thing absolutely fkn rips. Feel free to rifle through your Adolescents, Weirdos and (natch) Agent Orange records to see what these guys have been mining, but all you’ll find is a launchpad - Bloodstains inevitably hail from California and they’re clearly au fait with all the above (not to mention a certain compilation), but they manage to inhabit that sound with a personality all of their own. Vocalist Cesar Marin splits his delivery between a sneering bark (like the most withering put-downs you’ve ever heard being delivered via nailgun) and a purposeful, melodic croon… which itself sounds it’s made from sandpaper and vitriol, but there you go. Most importantly, this is a band with SONGS. Eight of ‘em here, to be precise, and you’ll rarely have been so glad to have something turned up so loud it blows holes in your speakers. ‘Stray Bullets’ hangs its mighty chorus on a call-and-response refrain that dares you not to pick a side and bellow along, while instrumental opener ‘The Last Rites’ sets you up perfectly for the seething, volatile bundle of hooks to follow. I’d say the interplay between the band’s string-wielding Espinoza contingent is something to behold as well, but what am I, some kinda nerd? The guitars sound fkn awesome - that’ll do ya. And I don’t wanna spoil the party ahead of time, but just wait til you hear future anthem ‘Public Hanging’. I could go on about this record all day, but ultimately all you need to do is listen to it. Hell, even buy it. And dare I return to a theme, lose your mind.
Special exclusive 7" from Il Sogno Del Marinaio, the avant-rock trio formed by legendary bassist Mike Watt (Minutemen, Firehose, Stooges), cult Italian experimentalist Stefano Pilia (Massimo Volume, In Zaire, Afterhours, Rokia Traore) and drummer Paolo Mongardi (Zeus, Fuzz Orchestra, Fulkanelli). Directly from fratello Mike Watt's words: "the "wing and a prayer" seven inch on _improved sequence_ was a product of the covid19 sitch around xmas of 2020. it was put together remotely, w/me here in san pedro, california, usa while from Italy stefano pilia (in bologna) and paolo mongardi (in imola) brought what they had from italy ... yes, the internet can be used for more than spreading hate and lies - it can also be used to collaborate in the spirit of artistic expression! cazzo, imagine that? il sogno del marinaio had finished work w/their "terzo" album and I thought a good way to rally the band would be to focus on a smaller release that reflected the current sitch we were in - see, the basic tracks of "terzo" were recorded in eleven months earlier here in my pedro town at _casa hanzo_ (stefano pilia and paolo mongardi traveling here by plane) so we had no idea what was ahead of us concerning the challenges of that fucking virus sitch. now the "terzo" album was not finished w/those basic tracks getting recorded, we had spiel (vocals) to add plus other stuff and of course it had to be mixed (tim in wales did a great job w/this - much respect to him!) so those experiences of those early covid19 times got "superimposed" on the music that was created right before it was on us, very trippy. that was a big reason I brought the three tunes of this "wing and a prayer" seven inch to stefano pilia and paolo mongardi - all they had was my bass but I believed they could "take the ball and run w/it" cuz that's how powerful I believe music to be: it can be able to overcome 'pert-near any hell trying to stomp it down. stefano pilia chose "wing and a prayer" to mix, paolo mongardi chose "tantrum" and I got what was left: "hail mary pass" - oh, I got my buddies stephen perkins to help w/percussion and petra haden to help w/singing, violin and mandolin. so one reality reality is w/these three tunes is that no one is actually playing w/each other in real time on this little record! it's all done by trading files via the internet...the starting for all three tunes being was my bass - ain't that a trip? shows how bass can be that springboard or launch pad I've always known it could be when not aiding and abetting a tune after the fact – both these "roles" for bass have been very interesting to me, going back to my early days as a minutemen and writing tunes for d boon and George hurley and by also bringing bass to their stuff
To experience Justin R. Cruz Gallego's pulverizing Sub Pop debut is to get burned down to ashes and burst forth, born anew. Grim Iconic...(Sadistic Mantra), the Tacoma-based artist's second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic...(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego's powerful drumming in a way that feels visceral and new. It's his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty. Born in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest. He found solace in the Seattle punk scene centered around Iron Lung Records and has since remained a fixture in the underground community. "I see this record as first and foremost a musical statement," Gallego says. "I grew up in punk and DIY subcultures, but before that I had Latin music playing in the background through my childhood and every phase of adolescence. It was surprisingly natural to incorporate. I realized I wanted to go deeper into these rhythms. I wanted to make a record that felt as experimental as much as it felt from the perspective of a Latino. When I got a glimmer of that possibility, it felt exciting." Lead single "Dogear" is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. "I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously," Gallego says. "Cholla Beat" is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production. Gallego's influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it's Gallego's assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego's home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester's penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego. Together, they retained the intimacy of Gallego's home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, "World i," offers a glimpse into the live experience of Grim Iconic...(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.'s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification). Taken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It's a sweaty, thrilling aural adventure and, like a great basement show, it'll leave you breathless, exhausted, and wanting to repeat it all over again. As any good mantra should.
Das in Chicago ansässige Quintett Brigitte Calls Me Baby kündigt sein Debütalbum 'The Future Is Our Way Out' an, das über ATO Records erscheinen soll!
'The Future Is Our Way Out' wurde teilweise im RCA Studio A in Nashville mit dem 9-fachen Grammy-Preisträger Dave Cobb (Jason Isbell, Sturgill Simpson, Chris Stapleton) aufgenommen.
Mit ihren poetischen Meditationen über Sehnsucht, Angst und die Komplexität der Vergänglichkeit ist das Album eine kraftvolle Weiterentwicklung der Debüt-EP 'This House Is Made Of Corners' von Brigitte Calls Me Baby, welche von vielen Seiten gelobt und mit dem Nervenkitzel einer vergangenen Ära beschrieben wurde. Post-Punk Elemente wechseln sich mit tanzbaren Rhythmen und Gitarrenriffs ab, die vor allem zusammen mit der Stimme von Sänger Leavins immer wieder an The Smiths erinnert.
Bei der Wahl des Titels für das Debütalbum landete die Band bei einem Satz, den Leavins als Teenager impulsiv auf ein weißes T-Shirt gekritzelt hatte, und den er im Laufe der Jahre immer wieder aufgriff und schließlich in einen üppigen und filmischen Popsong verwandelte.
Mit 'The Future Is Our Way Out' legen Brigitte Calls Me Baby nun ein Werk vor, das auf geniale Weise Genres und Epochen überspannt und die üppige Romantik des Pop aus der Mitte des Jahrhunderts mit der frenetischen Energie und stacheligen Intensität des Indie-Rocks der frühen Jahrtausendwende verbindet. Im Mittelpunkt steht Leavins' hypnotisch croonender Gesang. Das Ergebnis ist eine seltene Konvergenz von Raffinesse, Stil und unverhohlener Aufrichtigkeit.
"Nordvisor” is the inaugural chapter in a series of vinyl releases chronicling the musical essence of Nordvis and the artists whose passions fuel its fires. It focuses on analogue, folkish expressions – distilling the melancholy and beauty inherent in the wilderness, transforming them into music that resonates with the primal force of nature itself.
Born from a vision of collaborative creation, “Nordvisor” steps beyond the conventional compilation format that assembles rare and unreleased tracks. Each song is a bespoke creation, tailored specifically for this project, reflecting the communal ethos and artistic integrity of the participants.
“Nordvisor – Ett samlingsverk från Nordvis” will be released as a double LP, featuring a premium gatefold sleeve with Pantone elements, an 8page, 12-inch booklet, and multi-coloured vinyl.
This release is not merely a label sampler but a celebration of Nordvis’ heart and soul, forming a mosaic of connections between music, landscape, and the human experience. It features exclusive material from Örnatorpet, Bhleg, Blood and Sun, Hagathorn, Grift, Over the Voids, Fields of Mildew, JoDöden, Undantagsfolk, Prag 83, Sons of Crom, Draugurinn, Varde, Saiva, and Forndom.
Marking its first decade of activity, Blume returns with the first ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media”, from 1977, the third and final instalment in a suite of releases that includes James Tenney’s “Postal Pieces” and Ben Vida’s “Vocal Trio”. Unquestionably among the most important collections of experimental music to emerge during the 20th Century, “New Music for Electronic and Recorded Media” is the original feminist presentation in its context, releasing the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and Laurie Anderson under its collective banner. Includes newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey.
Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the efforts of efforts of Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and others, Blume delivers their third release in their first suite of releases for 2024, the fist ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media” compilation, originally issued by Thomas Buckner's 1750 Arch Records in 1977. Out of print for decades on vinyl and arguably the most important feminist statement in the history of experimental music, illuminating the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Robert, Ruth Anderson, and Laurie Anderson - in a number of cases representing their recording debuts - during a crucial moment in the history of experimental music. Blume’s brand new edition - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - radically shifts perceptions of the past and present day with its truly revolutionary sounds.
Issued by Thomas Buckner's 1750 Arch Records in 1977, and out of print nearly the entire time since, “New Music for Electronic and Recorded Media” can be understood within two simple frameworks. On one hand, it is an astounding document of the landscape of experimental music toward the end of the 1970s. On the other, it is a historically significant feminist statement, being the first collection of experimental music entirely dedicated to female composers, a number of whom were grossly under-celebrated at the time, but have since gone on to be regarded as among the most important composers of their generation.
The eight pieces gathered by “New Music for Electronic and Recorded Media” - Johanna M. Beyer’s “Music of the Spheres”, Annea Lockwood’s “World Rhythms”, Pauline Oliveros’ “Bye Bye Butterfly”, Laurie Spiegel’s “Appalachian Grove I”, Megan Roberts’ “I Could Sit Here All Day”, Ruth Anderson’s “Points”, and Laurie Anderson’s “New York Social Life” and “Time To Go (For Diego)” - might be regarded as the first cohesive vision of alternate proximity or expression of experimental music to what has always been a frustratingly male dominated environment, and to the tropes, temperaments, and sensibilities that have been historically perceived to define it. It is an expanded vision of truth. While the presence of feminine sensibilities and temperaments in experimental music, however they may present themselves, were anything but new in 1977, “New Music for Electronic and Recorded Media” was the first opportunity, beyond the temporal limitations of live performance, to view them collectively, rather than as individualised expressions within a larger body of similar gestures (as was the case of Oliveros’ inclusion in Odyssey’s 1967 “New Sounds In Electronic Music” and “Extended Voices” compilations) where they might be confused for something else; to regard and celebrate a radical notion of feminine sonority for its unique characteristics and through its interrelations.
While its historical significance and groundbreaking nature can not be debated in its totality, nearly half a century on “New Music for Electronic and Recorded Media” remains compelling in both its musicality and the palpable sense of its lasting influence. Every composition across the album’s two sides is not only engrossing and deeply compelling - feeling as fresh and relevant as the day it was laid to tape - but clearly tangible in their lasting influence. Viewed in context, the album’s eight works feel like breath of fresh air when compared to much of what came before, and laid the groundwork for much of what was to come, introducing a new, often more holistic temperament and more sensitive and inclusive sensibility into the landscape of experimental music.
Particularly in the case of Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Ruth Anderson, and Laurie Anderson, it's hard to throw ourselves back in time and imagine a moment when these composers rested in a fairly marginalised corner of the creative landscape. Blume’s brand new edition of “New Music for Electronic and Recorded Media” - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - brings us back to this confounding moment and points us toward a crucial moment of change set forth by these incredible composers and their sounds. Absolutely seminal and not to be missed.
Stashboxxx is DJ Harrison's #1 most streamed album of all time with top performing tracks such as "Erykah's Gun", "Dilla's Eclair", "Carnaval '74", "Block Party 4 Yall" and even more hits with streaming numbers in the millions. This is the second pressing of this album, the first was in 2014. Two bonus double-single products will follow the album re-release with new artwork to promote vinyl sales and streaming of Stashboxxx. These unreleased singles bring a similar soulful, jazzy, blissful nostalgia, giving fans a fresh listen.
Heaven Born and Ever Bright is the third studio album by British rock band Cardiacs. It was produced by Tim Smith, engineered by David Murder and mixed by both Available on CD Digifile and Single Sleeve Violet coloured vinyl (pressed from the 1991 master) Cardiacs are an English rock band formed in Kingston upon Thames by Tim Smith (guitar and lead vocals) and his brother Jim (bass, backing vocals) in 1977 under the name Cardiac Arrest. One of Britain's leading cult rock bands, Cardiacs' sound folded in genres including art rock, progressive rock, art punk, post-punk, jazz, psychedelia and heavy metal (as well as elements of circus, baroque pop, medieval music, nursery rhymes and sea shanties), all of which was topped by Smith's anarchic vocals and impressionistic lyrics. Their bizarre sound and image made them unpopular with the press, but they amassed a devoted following Tim Smith was the primary lyricist, noted for his complex and innovative compositional style. He and his brother were the only constant members in the band's regularly changing lineup. The band created their own indie label, the Alphabet Business Concern, in 1984 and found mainstream exposure with the single "Is This the Life?" from their debut album A Little Man and a House and the Whole World Window (1988). Their second album, On Land and in the Sea (1989), was followed by Heaven Born and Ever Bright (1992), which displayed a harder edged, metal-leaning sound retained in the subsequent albums Sing to God (1996) and Guns (1999). Tim Smith was hospitalised with dystonia resulting from a cardiac arrest in 2008, which brought increased and belated critical recognition to Cardiacs, with several music outlets calling Sing to God a masterpiece. His death in 2020 saw a raft of tributes on social media
Releasing as a vinyl 45, Bad Night is the lead offering from The Cromagnon Band's new album Mode. This is the band's second LP and the first of theirs to be released on BBE Music. Mode itself is an album of cinematic and psychedelic dark Funk tinged and tinted with Nordic psych/jazz, classical, boom-bap Hip-Hop breaks and riff heavy rock. Bad Night is backed with Quadrant, a stand alone track that won't be on the album, thus making the vinyl single release a unique addition to the music lover's record collection. That said, these are are two tracks which give both a genuine flavour of the forthcoming album as well as the band's own musical influences and heritage as instrumentalists and producers. The Cromagnon Band's recording technique of taking breaks, riffs and melodies from favourite tracks and then improvising from there with completely live jam sessions in the studio allows them to record in their distinct and trademark 'reverse engineering' style. The trio of Drummer Tom Watt, Bassist Lenny Walker and multi-instrumentalist Bert Page work by making music as a team, playing for hours and united by a love of Hip-Hop breaks and psychedelic Jazz/Rock/Funk and classical music. They choose to record only instrumentals which allows space for Bert to weave intricate soundscape with Fender Rhodes, Moog, Sax and Clarinet over the beats and breaks they have written from their improvised jams. Bad Night b/w Quadrant are the lead releases from The Cromagnon Band's new album Mode. They will be released as a 7" vinyl and digitally.
To this day, jazz pianists are influenced by Bill Evans by his use of impressionist harmony, interpretation of traditional jazz repertoire, and his trademark rhythmically independent, “singing” melodic lines. Evans gained his first spotlight when joining Miles Davis’ sextet during the time Kind of Blue was recorded. After leaving the sextet, Evans began his career as bandleader, which he finished in his last trio with Marc Johnson on bass and Joe LaBarbera on drums. This trio recorded The Brilliant in 1980 live at the Keystone Jazzclub, San Francisco, just before Evans’ passing. The Brilliant is available on black vinyl.
music to be issued on The Avant Garde (with Don Cherry), Coltrane's Sound and the all-time classic My Favorite Things, he embarked on the making of Coltrane Plays the Blues, a thematic LP consisting of six tunes based on the blues. "Blues for Bechet", one of the two pieces on this album on which Trane plays the soprano sax, is obviously dedicated to the jazzman who brought this instrument to jazz: Sidney Bechet. Pianist McCoy Tyner sits out on "Blues to Bechet" and both takes of "Blues to You", reducing the band to a trio on these tracks.
Organisation were a band out of Germany who were a kind of prototype for Kraftwerk. The band members actually wanted this album to be under the Kraftwerk banner but were overruled. It would probably be better known if that were the case. Nevertheless the album was played in its entirety on German television despite being a UK only release. Confused? I think everyone was but this is a vital part of the story of the godfathers of electronic music.
Matthias Koch isa totalnutcaseDJ and producer of some o’the fiercest music ever to come out of Germany.Fromstarting out DJing and creating musicat the beginning of 2000, playing frequently in many of Germany’s notoriously fiendish clubs, an untimely long break of 17 years beckoneddue to unforeseen circumstances. However, he’s now back and ready to turn up the bass once morein search of a new balance in his free time. Franticallyproducingsince 2022, he’squickly developed his ownbrutalstyle, instantly catching the feverish ears of RIOT Radio Records as it’s definitely, defiantlyand undeniably not off-the-peg techno!Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland,we’re immensely proud to present Matthias Koch’s first evervinyl release.This is one of the most whackin’, jackin’ and beat crankin’ releases to have ever appeared on our label. Featuring six lethal stompers for the darkest of dance floors and smoke filled basements, each track a lesson in how to pound ravers into submission. Withadditional intrinsicallycontortedmachinations by Nomad, JoeFarr, Angelsand othervice-ridden vintagedemonic consoles, Low Entropy’s Doom laden ‘Stripped’remix for example, this release isgonna leaveyou bewilderedlybeatento the core. The full digital release also features twobonusmonsterous tracks, one of which isarelentlesslyfierce 303 mangling by the acid mastermind himself,Bdacid. Scream if you wanna go faster ..................
WARNING: RIOTous ANGELICSCREAMERS WILL ALWAYS TURN INTO RENEGADES
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A limited vinyl pressing of the sixth album from the classic L.A. punk ska band! On purple blast vinyl!
Right from the start when you hear Feldmann’s voice sing "Everyday is just the same" before the guitars, bass, and drums kick in on opening track "One More Time," you instantly know that Goldfinger are back as good as ever. The elements of desire, passion, and punk in those 5 words instantly tell you that Hello Destiny is going to be different to Disconnection Notice. The songs on the album go from strength to strength. From the slightly heavier song of "Handjobs For Jesus," to the upbeat Ska of "Get Up," to the sweet heartfelt acoustics of the bonus track "Julian," this is an album that will be up there with the best of the Goldfinger records. Like having sex for the first time, it will be remembered.
Inhaler is the third studio album by American rock band TAD, originally released on October 19, 1993. It was the band's major label debut after two albums and an EP released by Sub Pop, and it was also their first album with drummer Josh Sinder, formerly of The Accüsed. Producer J. Mascis (Dinosaur Jr.) gave TAD a more focused and driven sound on this record. He can be heard playing the piano on ""Luminol"". The song ""Grease Box"" was played during the end credits of the 1994 movie Brainscan. Inhaler is easily their best and most consistent album to date and obtained positive critical reception upon release. Fortunately, the group has lost none of the grit that marked them as the grungiest of the Seattle scene. In promotion of Inhaler, TAD toured with Soundgarden. Inhaler is available as a limited edition of 1000 individually numbered copies on magenta coloured vinyl and includes an insert.
After releasing their first EP Fuse, Cranes expanded to a four-piece band and recorded their debut full-length album Self-Non-Self in 1989. Their sound has been described as “gothic minimalism” and “dreampop”, and also became part of the shoegazing movement in the early Nineties. This 1989 album showed their progression with the increased textures in sound and drum slams. The album contains a darker sound and is a mixture of industrial and post-punk music. Originally only six tracks, the band’s label Dedicated Records added a further two tracks upon its re-release in 1992: “Reach (Live)” and “Nothing In The Middle, Nothing At The End”. In that same year, Cranes went on a world tour with The Cure, which increased their popularity. Self-Non-Self is available as a 35th anniversary edition of 1000 individually numbered copies on black & white marbled vinyl.
Waking Season is the third full-length album from Beverly, MA post-rock quintet Caspian. The 10-song set was co-produced by Matt Bayles, former keyboard player from Minus the Bear and producer for such seminal albums as Isis’ Oceanic, Botch’s We Are Romans and Mastodon’s Blood Mountain. Waking Season is the follow-up to Caspian’s 2009 album Tertia. 2LP pressing from Triple Crown Records. Guitarist/keyboardist Philip Jamieson on working with Bayles, “We wanted to shake things up and work in a different type of environment, the kind of environment where it wasn’t just us calling the shots all the time. Working with someone who had the credibility to challenge the way we heard the songs outside of our own bubbles was extremely important to us for this record. Matt has a way of pulling the pieces together to make them sound crystal clear, sharp and balanced without removing any raw energy from a track. Working with him was a humbling and enlightening experience and we feel like it really benefited the album.”
"Can’t Stop Coming Around is The Shivas’ 10th full-length album. Recorded by the band themselves in their home studio ‘FFF’ in Portland, Oregon, and mixed by dear friend Collin Hegna (Brian Jonestown Massacre, Federale), Can’t Stop Coming Around showcases the many soundscapes that the Shivas traverse.
Psychedelia, garage, surf, girl group harmonies, and a punk ethos are all on display in this true to form full-length. Between reverb drenched vocals and catchy guitar hooks, Can’t Stop Coming Around encapsulates the emotions, hardwork and musicianship cultivated from almost two decades of rockin’ all over the world together.
Ranging from brooding and vulnerable to lively and maniacal - and every facet in between - Can’t Stop Coming Around comes from a place of honesty and certainty. It is certain that The Shivas will always be making music and it’s certain that they will always be pouring their honest selves into it. "
This record is 20 years in the making. It features two songs by one Makode Linde, legendary visual artist and musician, dear friend of (and frequent cover designer for) Studio Barnhus, the wonderfully weird dance label from Stockholm, the city Makode once called home, before moving to Berlin around the same time work started on these two songs.
On Never Getting Over Me, Makode sings an age-old song of lost love and persistent passion over a zany, sunsoaked riddim, while Professional Help is a piece of bossa nova perfection, its protagonist lamenting his old flame's refusal of therapy over a graceful, flute-driven instrumental.
Exquisite songwriting and glowing lo-fi charm will have these propel straight to your heart, taking up residency in that sacred place reserved for the sweetest pop songs only.
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Nach über 20 Jahren ist das zweite Album 'A Present For Everyone' der britischen Pop-Punk-Band Busted nun als limitierte blaue Vinyl wieder erhältlich!
Lee Morgan’s 1968 album Taru found the trumpeter at a crossroads exploring a variety of styles from modal jazz and post-bop to beautiful balladry and funky boogaloos. The band here is notable for the elevating presence of guitarist George Benson and the addition of tenor saxophonist Bennie Maupin. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.
Critically acclaimed, Orville Peck has long dreamed of making Stampede, a duets album with singers, songwriters, and fellow musicians he’s long admired. And now, music icons, rebels and newcomers join hand-in-hand with Orville on his third full-length body of work to help create a two-part record that tips its hat to music’s past, present, and future. Orville just released the first part to this project Stampede: Vol.1 on 5/10 with duets such as Willie Nelson, Midland, Elton John, Allison Russell, Noah Cyrus, Bu Cuaron and Nathaniel Rateliff. Slant Magazine describes Volume 1 as "a reflection of both the singer’s dedication to the genre and his desire not to be confined by it." The full project is releasing on 8/2 with more exciting duets to be announced.
Eight no-nonsense tracks, straight to the point. Moroka delivers the goods in this raw, unpolished gem of a release. Constructed in a week at home in Loughborough Junction after a conversation with FG boss Alex - these cuts are all about the energy, no time wasted on refinement. The drums rumble and shuffle, crashing into each other with an unpredictable rhythm that keeps you on your toes. The narrative here is simple: Mo, his neighbourhood, and his gear.
Early support and plays from Shy One, Scratcha DVA, D Bridge & Mr Beatnick.
Photography by Charlie Birch, design by Alex Horne, tape covers riso printed at Terry Bleu, Amsterdam.
First Word Records is proud to bring you 'Resonance'; a full-length album from Essa & Pitch 92. A lyricist, lawyer and a Londoner, Essa initially released music under the name Yungun in the early noughties, in the midst of UK hip hop's own "golden era". He earned praise from artists such as Nas and Mark Ronson, and performed and recorded with such luminaries as De La Soul, Wu-Tang Clan, Guru, Slum Village and Pharoahe Monch. His classic debut album 'The Essance' originally dropped whilst he was at law school, 20 years ago (which was recently given a full re-issue on First Word). This was followed with a collaborative album with DJ Mr Thing ('Grown Man Business'), then some years later with 'The Misadventures of a Middle Man' in 2014. Essa also released a track on Juneteenth 2020 entitled 'Justice', as a powerful reaction to George Floyd and the BLM movement. It saw support from the likes of Gilles Peterson, and raised money for an assortment of access-to-justice organisations. ...
Released via Sony CMG - This is a reissue of HiM's album, "Deep Shadow & Brilliant Highlights". HIM's third album, remains a standout in their discography. Opening with 'Salt In Our Wounds,' the album showcases a perfect blend of slow build-ups and heavier choruses, featuring a cool solo. 'Heartache Every Moment,' a single, grows on you with its poignant lyrics. 'Lose You Tonight' offers a unique intro with a bass line and intriguing background sounds, while 'In Joy And Sorrow' captivates with soothing guitar riffs and beautiful vocals. 'Pretending' stands out with memorable lyrics and an impressive solo. Although 'Close To The Flame' and 'Beautiful' are slower tracks, they add depth to the album. 'Don't Close Your Heart' and 'Love You Like I Do' close the album on a high note that create a lasting impact on the listeners. Single Black LP Vinyl.
“I personally feel this is a great record and recommend it to everyone. It’s positive and hot and simply
excellent.” – Gary Burton, in the liner notes.
Pat Metheny hatte sein Debüt bei ECM als Mitglied von Gary Burtons Band auf dem Album Ring im
Jahr 1974 gegeben, aber Bright Size Life, seine erste Studioaufnahme als Leader überhaupt, war das
Album, das ihn schlussendlich als neue kreative Kraft mit einem frischen Ansatz im Kontext des zeitgenössischen Jazz profilierte. Das im Dezember 1975 in Ludwigsburg aufgenommene und von Manfred Eicher
produzierte Album wurde von Methenys damaliger Stammband mit Bob Moses am Schlagzeug und dem
virtuosen, aber damals weitgehend unbekannten Jaco Pastorius am Bass eingespielt.
”Ich könnte die gesamte Musik von Bright Size Life auch jetzt noch spielen”, sagte Pat Metheny in
einem Interview für die Library of Congress im Jahr 2021. ”Es fühlt sich immer noch relevant an; die
Argumente darin erscheinen mir immer noch gültig und sie sind es wert, darüber zu reflektieren.... Damals
hatte ich das Gefühl, dass ich eine Platte machen wollte, die vielleicht die einzige sein würde, die ich je
machen würde. Ich hoffte, ein Statement zu Dingen abzugeben, die mir in Bezug auf Melodie, Harmonie,
Triospiel und sogar das Leben im Allgemeinen wichtig waren.”
Diese Luminessence Vinyl Edition des Albums erscheint in einem Tip-on Klappcover und enthält Fotos
aus dem Archiv.
White Witch Canyon's self-titled album is a true gem and should be in everyone's record collection.
That's why Ripple Music are thrilled to include it in their new series 'Beneath The Desert Floor' and
hopefully make more people realize the greatness of this recording!
Recorded as part of the same daydreaming puzzle as Unwishing Well, Still Clouds at Noon brings out the slowcore/sadcore elements that drift through The Reds, Pinks & Purples’ melancholy catalog. Donaldson names '90s hometown San Francisco acts such as American Music Club and the more obscure Timco as pivotal to his guitar playing and development as a songwriter, both of which shine bright here. The slower tempo ballads on Still Clouds… often culminate in heavy fuzz drenched codas and showcase the more abstract poetic side of Donaldson’s lyricism. There’s an inherent pop-sensibility always at work though, with ear-worm melodies appearing over intoxicating circular riffs. Formerly a Bandcamp only digital release, this white vinyl version is remastered and adds two unreleased tracks, one featuring Mark Monnone from Australian pop-legends The Lucksmiths on bass
Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.
After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.
In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.
The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.
Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.
Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.
The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.
The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.
"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.
“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.
“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.
“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.
“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.
The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).
What the experts are saying:
“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA
“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC
All songs written by Alex Figueira.
Arranged and performed by Conjunto Papa Upa.
Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.
40th anniversary edition of this seminal work by the multi-talented musician and producer Carlos Perón. After the release of “Impersonator” and the score of the film “Die Schwarze Spinne”, “Nothing Is True; Everything Is Permitted” is his third album released in the beginning of 1984. While still being an active member of Yello, it was around the start of the recording of “You Gotta Say Yes To Another Excess” that Carlos met the American musician Chris Lunch in Hamburg. He invited Chris to Zurich and together played with projects such as Romantic Rubber, Heavymetallen and recorded some sessions that become the basis of “Nothing Is True; Everything Is Permitted”. After the release of “You Gotta Say Yes To Another Excess”, Carlos decided to leave Yello and focused to finish the recording and mixing of his new solo album.
“Nothing Is True; Everything Is Permitted” has gone down in music history as a dark soundtrack without a film, influenced many artists and helped to develop diverse genders of electronic experimental and dance music.
Limited edition of 300 copies including all original tracks and new artwork.
Sumer Is Icumen In is Quentin Thirionet's (Dhavali Giri, Pairi Daeza) debut album. Still, his musical escapades are vast and varied, based almost entirely on improvisation and live recordings, of which he occasionally distributes tapes without further information. Elusive to categorization and identification, unwilling to fix his musical activity under a stable pseudonym, his projects have ranged from gypsy jazz guitar swings, French traditional songs from Auvergne, and various experimental collaborations. Increasingly closer to electronic instrumentation, he crafted what Belgian label KRAAK presents here as Maibaum, his first ever solo output. As the title goes, this may be a maypole on which his multicolored sonic visions spring about.
Former rope access worker and currently a farmer of organic greens, Thirionet lives up to these lines of work as a musician. He assembles precisely what seems like a subtle balance between high manmade structures and soft fertilized soils; a high voltage pylon placed in a biotic landscape. It's all an even blend, spontaneous and steady, but this contraption comes from profound considerations. "I chose these tracks among many others," says Quentin, "because I heard the melodies all the time in my mind, and because I cried while playing them without really understanding why."
Armed with nothing more than a blackbox, a sequencer, a freeze pedal, and a tape player, Thirionet orchestrates a vivid rite of polished futures. At times reminiscent of Hans-Joachim Roedelius' enveloping arrangements, Maibaum's ambiances rely on mild repetitive patterns subsequently textured by prickling sprouts, mechanic dislocations and revamps that stoke and brighten the stirring motions. Jim O'Rourke's I'm Happy and I'm Singing comes to mind in terms of its detailed and prismatic nature, but Sumer Is Incumen In has its particular narrative. It's a tale of regeneration, of spring's delicate procedures and allure, a celebration of gracious and fortunate junctions between nature and machinery.
The album unfolds like a massive engine being made flesh to drift along the ether of a sultry land. The terrain turns pleasant and fertile in the title track; the colors and melodies of May start to unravel. Chromatic columns rise and define the scenery's depth of field breeding a synesthetic stream between crystal lights and warbling organisms. Grande Albero Buono Magico Uoma's brisk kaleidoscopic arpeggios sound like scanning a tree's litmus foliage. Then Ciguri takes us back to the foggy swamp of the beginning but is suddenly lit by an insect’s labyrinthine roundabout. The Jeweled Grid is a poem Quanta Qualia's lustrous metallic voice recites as a report of the album's phenomena. "Shiny revelations jump out. Pearls of thought flicker about." Images from within that distill to swirl around among us. The thicket dissolves as the album concludes calmly in Le Concept De Chien N'aboie Pas. Swaying under sieved solar light, leaves and branches tingle until the winds grow weak. All the warm creatures gathered along the way, and all those who danced around the maypole's splendid equilibrium now withdraw, folding up small to foster rebirth once again.
This feels deliciously fated. Musical soulmates, Cromby is the only person Sally C will go record shopping with. The duo minted their friendship back in 2016, not long after both migrated to Berlin. A friendship forged through shared dancefloors, long hours at the pair’s beloved Bikini Waxx and impromptu B2B sessions, they have a common passion for good times and serious digging. If you want a sense of the genesis of Sally’s label baby Big Saldo’s Chunkers, just listen to the cult-favourite ‘Big Saldo & Cromby Dusty Hip Haus Mix’ that’s lived on her Soundcloud since 2019.
Cromby knows a Chunker that’s for sure. His contribution to the label is elite. Rinsed by the pair all year, it’s supports also include Job Jobse and Bambounou. In January it highlighted Nachtiville, where it was played all weekend long and became an unofficial hype anthem of the festival. A fiercely hunted track I.D ever since, lock this in as one of those catchy Crombyclassics we all love and can’t stop playing (and singing). ‘Pump It’ is an atmospheric roller, a perfect cut for maintaining the energy after the hands-up vibes of ‘House Flava’. ‘Free’ features Cromby’s own vocal debut – “I didn’t realise at the time of writing how fitting the lyrics would be for our times unfortunately,” he shares. Driven by punchy purring bass, it brings plenty of rugged energy with 303 flourishes, while dreamy keys balance things nicely. One for the after-hours.
The EP is rounded out with the wicked hoover-led ‘Best Not Miss’, that transports us back to a steaming Trade dancefloor circa 1997 and is thrilling in every sense.
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Ten bad boy digi riddims from the myspace era by Copenhagen’s Maffi crew, dubbed out into 3D space by disrupt in 2024. Raw, minimalist CyberDancehall at its best, nostalgic and oddly futuristic at the same time, this album is quickly becoming RoboCop’s favorite playlist when going to work.
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Maffi Promotions a.k.a. Maffi Boys come straight outta 1773 Kbh V, Copenhagen, Denmark. Originally founded in 1990 by the two homeboys, lazy body Moog and Junior the Rat, Maffi Promotions have been a steady producer of simple digital riddims for years. Hanging out in the streets of Hummel City Junior & Moog used to entertain their friends with the primitve riddims of the Maffi sound. Not knowing that they would do the exact same thing fifteen years later, they continued to believe that one day they would move up the ladder, break out of the underground and reach for the stars.
Now, after finally adopting a little sense of realism, the two homeboys have realised that stardom is nothing compared to spamming people on myspace. So the two stoners decided to get a couple of friends together and turn up the bass online. Together with their sound crew FIREHOUSE, Maffi deal nuff weed and gyals!
Maffi Boys are very dedicated to the art of playing Sensible World of Soccer, rolling weed joints with Manitou tobacco and keeping it real in a Vesterbro-style. So watch out! And don’t test! We’ll be putting up new riddims on a weekly basis. We have nuff things brewing – including a delicious chicken!
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Growing up in the streets of Hummel City, Vesterbro, MOOG learned the pleasures of sleeping late, playing Sensible World Of Soccer and picking up hot gyals at an early age. He has spent most of his life trying to master these crucial skills. Taking a break from the dog race, Moog is currently focused on reaching a higher understanding of reggae-science and weedology.
JUNIOR experienced the necessity of rolling well-made spliffs at an early age. Incorporating the aestethic heritage of Scandinavian design, he has spent most of his life perfectionizing this old and traditional art form. Junior is currently taking his ph.d. in digital reggae by buying crates of 80’s 7″ and selecting for his sound system Firehouse.
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Bringing together the undisputed talents of Nigerian percussionist Aleke Kanonu and soul legend from Alabama, O.C. Tolbert, this 12' created quite the buzz when it was released in New York in 1982. Shops and leading DJs were clamouring for it, but short supply saw it disappear into obscurity. The A-side, 'Happiness' is an uptown style Gospel ballad where Tolbert's gravelly, soulful voice channels years of hurt an pain. The B-side, 'Nwanne, Nwanne, Nwanne', is an Afrobeat disco monster that rattles along on the back of Kananu's awesome percussion skills. Both tracks were written and produced by Jack Taylor, a producer, songwriter and purported gangster from Harlem and released on his own label. This reissue comes courtesy of the good folk of PMG, purportedly cool guys, based in Austria. - Peter Moore,
This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.
The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.
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Careening from the Black Sublime of Dadawah to the, er, Foxy Brown of Jennifer Hylton, Dug Out lets off this early~nineties r'n'b~spiced piledriver, recorded by Lloyd Pickout Dennis at Dynamic, with the Firehouse Crew - George programming drums, Danny the bass, and Wrong Move the other keys
* A classic roots instrumental from the late 1970s from legendary trombonist Vin Gordon, who played on numerous Studio One classics, as part of the in-house band Soul Vendors as well as countless sessions with Joe Gibbs, Lee Perry and many more.
* Vin played on Aswad’s classic `Warrior Charge’, which from that recording session, `Kojo Hoy’ was born.
* Featuring Aswad Riddim Section - Tony Gad on bass & keys, Angus Gaye on drums and “Bammie” Rose on flute.
* Previously released by Partial in 2015 on 10” (PRTL10005) which rapidly sold out. This issue features an extended dub version.
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